RECORD STORE TALES Part 164: “You scratch my back…”
In the past, (Part 120, in fact) I talked about how T-Rev would keep his eyes peeled for discs that he knew I wanted. It worked out to be a mutually advantageous arrangement; a large chunk of my collection came to me simply because T-Rev knew I wanted something. I’m sure the reverse was also true. But this referred just to discs that showed up in our respective stores.
I had a different arrangement with “QUO”, who worked with me at my own store. In this case, we’d actually buy each other stuff while we were out on our own record shopping excursions. I found the following entries in my journal, illustrating exactly the kind of “you scratch my back…” arrangements that we had. It was pretty awesome.
Date: 2005/10/25 16:26
Today I picked up a Bright Eyes 45, an Arcade Fire 45 for QUO, and the new Motley DVD since I didn’t see the tour. I hope the documentary footage kicks ass! The last Motley DVD (given to me by an ex) really sucked. Maybe Vince actually sings on this one instead of letting the fans do it all!
I actually picked up the Bright Eyes 7″ for QUO as well, but he already had it, so I just kept it for myself. I don’t know which Arcade Fire I bought for him (it was probably “Rebellion”), but the Bright Eyes was “Gold Mine Gutted”. (The Motley DVD I am referring to was Carnival of Sins.)
This was in return of a favour QUO did for me, one week prior!
Date: 2005/10/18 10:00
QUO picked up three CDs for me in Toronto last night:
1. Bon Jovi “Have A Nice Day” single (has two live tracks first released on the box set, but in studio versions). 2. Bruce Dickinson Tyranny Of Souls Japanese import with bonus track. 3. Iron Maiden “The Trooper” CD single.
I remember giving QUO a wishlist. This was back when HMV Toronto still carried Japanese imports (which they no longer do, see rant here). I remember putting Avril Lavigne CD singles on that wishlist too!
This is what obsessive Record Store Guys do. We help each other out. It’s in our blood, the blood of the collector!
SLASH PUPPET – No Strings Attached (2007 Sun City Records)
Slash Puppet were one of the biggest names of the burgeoning Toronto rock scene of the early 1990’s. Unfortunately, unlike their competition Sven Gali and I Mother Earth, they never got signed to a major label. They did, however, manage to sell out 2500 copies of their first recording, The Demo, an independent cassette, via mail order. They were the darlings of M.E.A.T Magazine and appeared on MuchMusic’s Power Hour. Slash Puppet signed a management deal with Ray Danniels and SRO (Rush) who later also handled Van Halen, King’s X, and Extreme.
I was one of the 2500 people who ordered The Demo. Every mail order was accompanied by a glossy 8 1/2 x 11 autographed photo. I still have mine, this is especially treasured since their talented lead guitarist, Lou Garscadden, passed away in 2001. Today, lead vocalist Mif (originally billed as “Tony Terrance Dartanian”, for some weird reason) is a successful actor. That’s him as the mob boss in Norm McDonald’s hilarious Dirty Work, billed under his real name, Anthony J. Mifsud!
Incredibly, for a band that never put out a major label release and split in 1994, Australia’s Sun City Records reissued The Demo on CD in 2007, as No Strings Attached. A well-assembled package, it features liner notes, lyrics, and loads of photos.
This ass-kicker starts with a bang: “Slow Down”. This was the first video, and it even made a return appearance (in slightly remixed form) on the second Slash Puppet release, a self-titled EP. “Slow Down” is an infectious hard rocker, a tougher and faster Faster Pussycat with a way, way raspier singer. It has more integrity than most of the Sunset Strip of the time combined. And this was from the bad bad streets of Mississauga!
The extremely catchy ‘Squeeze It In” follows, a mid-tempo groover, and my personal favourite song. This one just drips sleaze with a knack for gritty melody. Up next is “Hard On Love”. It’s another concoction of raspy lead vocals, catchy backing gang vocals, and pure sex. It’s twice as hard as anything Hollywood was producing at the time. “Bad Girls”, which closed side one of the original cassette, is about the only misstep. While the song is another adrenaline-filled sex romp, the chorus lacks punch.
It’s here that I think the CD edition of No Strings Attached differs from The Demo. If memory serves correctly, side two began with “Overload” and closed with “Turn It On”. On the CD, the track order seems switched. Unfortunately, my original cassette copy is now lost.
Regardless, “Turn It On” is fast paced, raspy and built for sex. It’s not an upper-echelon song, it’s more similar to “Bad Girls”, the chorus is a bit thin. The band compensates with the excellent “Evil Woman”. Great chorus, great hooks, and it sounds great in the car. It also has a cool dual guitar solo by Lou Garscadden and Frank “Bart” Bartoletti, proving these guys had the chops.
The dark and slower-paced “Some Kind O’ Lady” provides some variety on an album that is otherwise very party-oriented. This killer tune was always one of my favourites. It has some killer soloing and a great riff. The verses kind of remind me of a Testament ballad like “Return To Serenity”, but before Testament even wrote that song. Maybe it’s the grit in Mif’s voice that reminds me of Chuck Billy.
“Overload” closes the CD on an upbeat note. It has a fast, playful riff, sleazy lyrics and plenty of grit. It’s totally headbang-worthy. And with that, the CD ends, listener exhausted by half an hour of pure heavy glam rock!
The production values for this album are not the greatest. Keep in mind this was originally a self-financed demo tape, never meant for wide release, and never intended for CD. The guitar solos are often buried, and the backing vocals sound a bit thin. What does come across is the grit of Mif, an underrated singer and frontman (by all contemporary accounts).
As mentioned, Slash Puppet returned with an EP later (released by indi Fringe), amped up, better sounding and more mature without losing an ounce of their street-tough sensibilities. Look for a review of that ultra-rarity in a future edition of mikeladano.com!
Hockey season has begun! Enjoy this Record Store Tale….
RECORD STORE TALES Part 163: Hockey
The date: May 14, 2004
The location: My store
The characters: Store employee Matt, and a really dumb kid who claimed to be 20 years old, selling used discs.
The NHL playoffs were in full swing. Oftentimes, when you’re selling used CDs, it takes time to go through them all and assign values to them. Customers like to make small talk during this time. In Canada, small talk often amounts to hockey talk. According to my journal, the conversation unfolded as below.
Dumb Kid Who Says He’s 20: “Who are you cheering for in hockey?”
Matt: “Calgary.”
DKWSH20: “Calgary? What for, why aren’t you cheering for someone Canadian?”
Matt: “Calgary IS in Canada.”
DKWSH20: “It is?”
Matt: “Yes.”
DKWSH20: “Wow, it’s been a long time since I’ve looked at a map.”
Add my voice to the chorus of people disappointed with British Lion, the debut solo offering from Iron Maiden’s visionary founder, Steve Harris. It’s not just because it doesn’t sound like Iron Maiden, because I wouldn’t want it to sound like Iron Maiden. It’s because Steve’s hired the most bland lead vocalist I’ve heard in many moons. Mr. Bland’s name is Richard Taylor, and he lacks any sort of grit, power, or character. I’m sure there was a method to Steve’s madness, and a reason he chose Mr. Bland to sing for him. I’ll be damned if I can figure it out.
Steve self-produced this album, with Kevin Shirley mixing, and sonically it sounds good, especially the final track: The lush “The Lesson” features strings and acoustics, and sounds great. Unfortunately a good sounding production can’t inject life into these dull songs.
I hate to use such harsh language as “dull” and “bland” where Steve Harris is concerned, but I’ve played the album five or six times now, and I still can’t remember most of these songs distinctly. There’s one standout: the pop metal “Eyes of the Young”, which has a catchy chorus and is instantly memorable. There are far more songs that are instantly forgettable: the single “This Is My God”, for example, and the aforementioned “The Lesson” despite its production values. “Us Against the World” isn’t bad, starting with keys and organ before some dual guitar harmonies kick in. But then Mr. Bland opens his mouth.
Steve’s trademark bass is more groove oriented and less rinky-dink, which is fine. He seems to gel well with the rest of the band, but unfortunately aside from some tasty guitar solos, the rest of the band is generic sounding and lack a distinct identity. I lay most of that straight at the feet of Mr. Bland. A really great singer could have injected some passion into these otherwise unremarkable songs.
A nice added touch: The CD comes with mp3 copies, so you don’t have to rip to your portable device. It comes in two forms: mastered loud, and mastered very loud!
RECORD STORE TALES Part 162: “Is it out in Toronto?”
I guess this is one of those weird urban myths. Growing up in Kitchener in the 1980’s, some people used to think we got new releases later than big urban areas like Toronto. I can distinctly remember childhood friends of mine having this discussion with me. Just swap out the names of the bands depending on the person.
Me: “I saw the new Judas Priest video today. It was awesome. I can’t wait for the album.”
Friend: “It’s not out yet?”
Me: “No, I asked at A&A Records and it’s out in about a month.”
Friend: “Yeah, but that’s here. I bet it’s already out in Toronto. Toronto gets everything first.”
I thought maybe that was just an isolated myth, relegated to our group of friends in the Stanley Park part of town. We didn’t have much in the way of record stores within walking distance. There was a Zellers (no longer there, now a Walmart), and later on the aforementioned A&A Records and Tapes. When all we had was Zellers, you could imagine they might not order the new Judas Priest on the day of release. It wasn’t their thing.
When I was working at the record store many years later, I discovered this urban myth did indeed perpetuate among different groups all over town! I had heard more than once, “It’s gotta be out in Toronto, right?”
For example, in May 1996, I did have this exact conversation:
Customer: “Do you have the new Tragically Hip?”
Me: “No, it comes out on Tuesday though. Do you want me to reserve you a copy?”
Customer: “Tuesday? That’s just here though, right? Toronto would already have it, right? I’m going to try in Toronto on Saturday.”
No! Why would Toronto already have it? This wasn’t the 1800’s, delivering parcels on horseback! I don’t get where that idea started, but it did exist, and let this article be a remembrance of an earlier age of CD ignorance!
I’m done my series of Maiden reviews, so Aaron has challenged me to get out of my comfort zone. Together, we will be reviewing some of the albums he bought in Toronto during Record Store Excursion 2012. I’ve never heard any of these albums before, in fact I know almost nothing about most of these bands. Here’s part 1. Enjoy. (?)
I know nothing about Dave Bidini, I know nothing about this band, and I know nothing about this album. I didn’t cheat by reading up on them, or reading other reviews. I truly went into In The Rock Hall blindly with open ears.
It’s obvious these guys don’t give a crap about commercial songwriting. Anything considered standard, radio-friendly, or easy is tossed out the window in short order. The songs twist and turn through different, sometimes contradictory sounding sections. It sounds like it was painstakingly composed, piece by piece. This is all good — I like a challenging listen. It’s all done with a wink and a smile. They sound like they’d be very loud, live. It’s also obvious they love their ganja, as the subject comes up more than once!
The guitar work is striking. Like I said, I didn’t do any cheating to learn more about this album, so I have no idea who the guitar player is, but he or she has weaved together some unorthodox hooks. Riffs and melodies strike you from the speakers, demanding that you pay attention!
“I Wanna Go To Yemen” crosses acoustic riffing, latin-sounding clapping, unusual beats and electric guitars with some pretty funny lyrics:
I wanna go to Yemen, I wanna go with you, We’ll get high in the morning, And in the afternoon
It defies categorization, which is a good thing. I’m not too keen on the singer’s flat vocals, I’m hoping they will grow on me. It reminds me of Pavement, a band I’m not too into. But it demanded a second listen, on which it grew further.
“On Camoragh Lake” starts with annoying beeps and gratuitous “fucks”. It’s pretty tuneless until you get to the chorus, which features some nice electric chords and female backing vocals. The song takes a turn around the 2 minute mark, getting a bit more passionate and noisy. It has some guitar squeaking that would make both Joe Satriani and Tom Morello happy. This annoying song gets more and more catchy as it goes on. It grows on you, with more listens.
Third is “Big Men Go Fast on the Water” (well, it was true for Vince Neil)! This is the most melodic and straightforward tune thus far, very enjoyable. This is the first song I can say I truly enjoyed from start to finish on first listen.
Another great tune follows, the passionate “Last of the Big Dead Things”. This dark, acoustic, beautiful tune was instantaneous. But just when you think you know what’s going to happen next, they go into a shouted section at 3 minutes, and then a quiet whisper.
“Needle Beach / Outdoor Motors” has a vague (but only vague) surf-rock sound, but it’s more distorted and twisty/turny than that. I’m not sure why the band seems to be obsessed with water themes, but hey, it’s all good. This one’s a bit too odd to get on first listen, but it does hit a catchy vocal part towards the end.
Better is “Hey Paul and Donna”, a nice acoustic one with a great chorus. “Hey Paul and Donna, I’m glad you took the train to Taranna!” That’s Toronto, for those who don’t know! It has a vintage 1960’s sound, and is probably the simplest, instantly catchy song on the album.
“Popcorn” features some intricate catchy guitar licks. It’s also a pretty simple catchy tune, the melody doesn’t do much for me, but that guitar part is truly great. I wish I could play that effortlessly. At 2:40 it takes another twist, with female vocals, almost sounding Christmas-carol-y.
Distorted robot vocals usher in “The Best Thing About The 80’s Was You”, complete with apropos drum programs. If you like 80’s music, this is a whimsical homage. If you don’t, like me, this one built for the skip button. It’s all tongue in cheek, but it’s not for me. “‘The Final Countdown’, the 80’s was you!”
There’s nothing simple about “Eunoia”, a 10 minute monster. It starts as a poem, with Tom Waits-esque backing music and noise. Then it goes into some nice guitar chords and understated vocal melody. It’s powerful and melodic. As you can imagine, it has multiple sections, each with some incredible guitar work, demanding that I pay attention. Just when I’m getting tired of one section, it twists into something else.
Up next is the percussive “Earth (Revisited)”, a humourous retelling of human history. It’s anchored by relentless drumming, and plenty of ooh’s and ahh’s.
The album closes with another long one, the title track, “In The Rock Hall”. Somewhat obviously, this one is about the Hall of Fame in Cleveland, but with a tongue in cheek. The lyrics are amusing, musically I felt like we’d already visited this territory.
Coming up with a simple rating is not easy. One cannot overlook the chops, the unorthodox stylings, the variety, and the refusal to keep things simple. On the other hand, I found the ooh’s, ahh’s, and la-la-la’s tiring, as well as the perpetually flat lead vocals. I don’t know how often I’d want to come back to this one. Striking a balance, I’ll rate In The Rock Hall:
Alas, the end: Part 45, the final chapter of my series of Iron Maiden reviews!
In case you’re new to LeBrain’s blog,you may as well go back and start here. I have covered every album, every EP, every single, every rarity that I have had access to. I don’t know if a more comprehensive review of Maiden material can be found on the web. Enjoy.
It’s been a slice. Without further delay, here’s the final part. En Vivo!
IRON MAIDEN – En Vivo! (2012 CD, blu-ray, EMI)
Once again, Iron Maiden have followed a studio album with a live album. Unlike the last one, Flight 666, this time Maiden released a set representing the tour for their last studio platter, the excellent Final Frontier. For the first time, you will have a chance to own live versions of songs like “El Dorado” and “Coming Home”, mixed with a standard set of Maiden classics, recent and vintage.
The splendid set starts with a pre-recorded version of intro “Satellite 15”, which melds directly into “The Final Frontier”, an excellent Maiden rocker with a chorus built for the live experience. This version brings to the forefront Maiden’s melodic guitar goodness, along with Bruce’s powerful pipes. Adrian Smith rips the solo to absolute shreds, only to be followed by an energized Dave Murray. What a start. It’s an absolutely flawless start, and the Chilean crowd goes wild.
Just like the album, the band then seamlessly moves into “El Dorado”, which is superior here to its album version. More guitars, faster pace, more backing vocals, a more lively lead vocal…what more could you want? Even the most cynical fans, only there to hear “Run to the Hills”, would be blown away if they only opened their ears.
“2 Minutes To Midnight”, which was also available on the Flight 666 and Rock In Rio CD’s, is next. This one, I probably could have done without, after hearing it on two prior live albums, not to mention A Real Dead One and the immortal Live After Death! It is a great song, no doubt, and there’s nothing wrong with this version. But why not throw in something else, like “Icarus” maybe?
Then back to new material: a haunting “The Talisman” and the anthemic “Coming Home”. “Coming Home” in particular seems perfectly designed for the live concert environment. Both songs bring forth all the complexity and passion of The Final Frontier, with the crowd supplying ample backing vocals. Clearly, Chilean fans don’t mind new songs.
One of my personal favourites of more recent vintage is next: “Dance of Death”. I love Bruce’s Hamlet intro: “There are more things in Heaven and Earth than are dreamt of in your philosophy.” The vocal is a tad more shaky than the version on Death on the Road, but once the song gets going, Bruce finds his footing. He has the crowd in the palm of his hands the whole way.
“The Trooper” only makes the ecstatic crowd that more crazy. Unlike “2 Minutes”, this is a song I never tire of. The solo just smokes, the Three Amigos blasting through. Then onto “The Wicker Man”, a song not heard on a live album since Rock In Rio, although some fans (like me!) are lucky enough to own a 2002 version on the Japanese “Rainmaker” single. “The Wicker Man” is a modern classic, a song that I believe belongs up there with “The Trooper”. Once again, Adrian performs a flawlessly melodic solo. One more track from the Brave New World album follows it, “Blood Brothers”. I was a bit surprised to see this slower one resurrected live, but like the other songs, this one was perfectly built for a live audience. Bruce wouldn’t even need to sing on the chorus, so loud is the audience.
The last of the newer songs is next, the amazing “When the Wild Wind Blows”. Not brief at 10 minutes, this is one of my favourite songs from The Final Frontier. The crowd is on board for every moment, every riff, every section, every emotional breath from Bruce’s mouth. Truthfully, if Maiden were not a band with over 30 years of classics in the back catalogue, this song would be considered a standard, never to be missed. But when you could easily play a 6 hour set of nothing but classics, it’s hard to squeeze them all in. All I can say is, I hope this song makes future tours, but at 10 minutes, don’t be surprised if it’s left out in favour of older classics.
And speaking of older classics, get ready for a whole slew of them: “The Evil That Men Do” (so much more powerful with three guitars!), “Fear of the Dark”, “Iron Maiden”, “The Number of the Beast”, “Hallowed Be Thy Name”, and “Running Free”. “Running Free” contains the usual band intros (Nicko being described as “the indescribable, the inevitable, the inimitable, the uneatable”), and the crowd goes wild once again.
And the listener is exhausted, after over 2 hours of regal metal classics performed by one of the best, if not the best, heavy metal band in history. The best? Well, I don’t want to open that debate. But after revisiting the entire catalogue these past few months, I’ve definitely gained a new respect for a band I already loved. The growth of this band, not always appreciated, has been steady with integrity. And the live experience is still one that tops bands less than half their age. En Vivo! proves this.
A blu-ray release provides the same concert experience with stunning visuals, plenty of space-age Eddies, and a manic Bruce running to-and-fro, while the rest of the band defy age. There’s also a great bonus feature: 88 minutes of documentary footage called “Behind the Beast”, chronicling the creation of the Iron Maiden live show.
RECORD STORE TALES Part 161: The Woman Who Got Her Bike Stoled
The date: July 15, 2005
The location: My store
Straight from my journal, here’s the tale.
One weird thing happened today. This strange woman came in to sell CDs, but left her bike outside unlocked, and it had been stolen. Now, instead of blaming it on the lack of a lock on her bike, she decided to blame the lack of surveillance cameras outside. I don’t know about you, but I don’t know any CD store that has cameras OUTSIDE. But apparently that’s “dumb”.
She came back later in the day, telling me that she ran into two guys drinking beers in the woods. She had a beer with them. She came back into the store saying “Now I have a ‘cheap’ buzz on.”
Now I’m wondering, does she mean “cheap” as in “free”? Or did these two mysterious woodsmen charge her for the beer? The mind reels.
My journal does not say if the woman ever found the bicycle or not. Typical day on the shady side of town!
RAINBOW – Down To Earth (1979, 2011 Universal deluxe edition)
I was a little surprised (in a good way) that Down To Earth by Rainbow was given the deluxe treatment. I really only expected the Dio albums to be re-released in such grand fashion, but here we are with the sole Graham Bonnet offering. (To date, the debut album Ritchie Blackmore’s Rainbow has yet to be issued in deluxe form.)
The brand new liner notes reveal that Cozy Powell was not happy with the commercialization of Rainbow’s sound, and that’s why he quit the band. Indeed, Down To Earth sounds like a very different band from that who recorded Long Live Rock ‘N’ Roll. (And in fact only Cozy and Ritchie Blackmore remain from that album.)
Having said that, Down To Earth is a damn near perfect confection of Blackmore’s sublime riffing and commercial rock. Yes, many of these songs could have been on the radio at the time, but the guitars are cranked, and Graham Bonnet has grit and power to spare. In short, this is a fantastic album, majestic and grand, with all the hallmarks that make Ritchie Blackmore one of the most important guitarists in history.
From the opener “All Night Long” to the manic closer “Lost In Hollywood” and everything in between, there is not a weak track on this album. Everybody knows the hit, “Since You Been Gone,” which still gets played on rock radio today. In a way I like to compare this album to Seventh Star by Black Sabbath — a shift, but the elements are still in place. Except Down To Earth is still heavier than Seventh Star, it just lacks Dio’s mysticism.
My personal favourites, aside from the above tracks, include the mid-tempo and sublime “Making Love”, and the manic “Danger Zone”. None of the eight tracks are skip-worthy though.
The new lineup included future Deep Purple keyboardist Don Airey, and Ritchie’s old Purple bassist Roger Glover. Glover had built quite a career producing bands like Nazareth, and he also produced Down To Earth. He did a great job of it too, in particular with Cozy’s smashing drum sounds.
Two bonus tracks on disc one are “Weiss Heim”, the instrumental, and the B-side “Bad Girl”. Both songs were previously available on Finyl Vinyl and other compilations, but it is nice to have the sum total of the Graham Bonnet studio recordings here in one place.
The second disc contains a series of instrumental demos, which really highlight Cozy’s incredibly solid drumming and Ritchie’s picking. You can hear all the subtleties of Blackmore’s playing, every note and every stroke of the pick ringing clear. If you’re the type who can listen to a record and learn to play a song by ear, then you will love this disc. You’ve never heard Blackmore’s playing so bare. And Cozy? Well, his cymbal work is to die for, and of course his snare drumming is metronomic. It’s incredible that even if he wasn’t inspired by the songwriting, he was still playing this good. There are also a few tracks with embryonic lyrics such as “Spark Don’t Mean A Fire” (which became “No Time To Lose”). A “Cozy Powell Mix” of “All Night Long” is an annoying remix with the vocals mixed way way back, the guitar almost inaudible, and the drums upfront. Interesting from an analytical point of view, but not very enjoyable to listen to. The demos do a much nicer job of highlighting Cozy’s work.
Missing: “Since You Been Gone” live Monsters Of Rock Festival, Castle Donnington, England 1980. Also previously released on Finyl Vinyl, no idea why it’s not here. There was plenty of room. Also missing is “All Night Long” from the same show, which was released on a compilation called All Night Long – An Introduction To Rainbow, and another just called Anthology. It would have been nice to every Bonnet related recording in one place, but maybe they are planning on a Donnington live album at some point, who knows?
As with all deluxe editions, there are photos and great liner notes. This little-known period of Rainbow is illuminated by a lot of facts and stories of which I was previous unaware. A good read to go with some great music.
Now let’s get a deluxe going of Blackmore’s Rainbow, already!
I’d like to dedicate this unusual review to Aaron who is the biggest Boss fan I know.
THE TRANSFORMERS – “Rock and Roll-Out!” (Marvel comics, issue #14, March 1986)
Written by Bob Budianski
Remember that one outdoor Bruce Springsteen concert back in March of ’86, when the Autobots saved the day?…No?
Well, clearly you weren’t reading Marvel’s original Transformers comic series back then. Issue #14, March 1986, featured just such a mash-up, only with a slightly different twist. While some real-life people, most notably Richard Branson, had appeared on the pages as themselves, Bruce appeared as the similar-monikered Brick Springstern (also spelled “Springhorn” on one page!), with his Tenth Avenue Band. The band came complete with an afro-sporting Max Weinberg, and Clarence Clemons himself, going by his nickname the Big Man.
Brick’s songs included the smash hits:
“Dancing in the Night”
“Born in America”
Something referencing Margarita
…and presumably many more familiar sounding tunes!
In this issue’s tale, the Autobots are replenishing their ranks after the devastating events of issue #12. Optimus Prime has revived “memory engrams” of five Autobots: Hoist, Tracks, Skids, Smokescreen, and Grapple, and puts them in new bodies. Optimus sends four of the five (holding Grapple behind, in order to build Omega Supreme, who appears in issue #19) out with Bumblebee on a training mission.
It is while getting gas on this mission that Skids discovers that he loves the music of Brick Springstern/Bruce Springsteen! “This Springstern produces a most intriguing sound,” says Skids, as he sets his radio to the correct “coordinates”. Soon, however, the Autobots discover that Decepticon commander Shockwave plans on harvesting the sound energy from that night’s Springsteen…err, Springstern concert for his own evil uses! This unlikely plot serves to bring the Autobots closer to Springstern, by attending the concert themselves, in the parking lot!
Shockwave’s “energy siphon” actually removes the sound from the concert, converting it into “energon cubes”! The audience isn’t happy! Hoist disconnects the siphon, triggering a Decepticon attack!
The autobots transform into robot mode to protect the audience from Decepticons Starscream, Skywarp and Thundercracker. Luckily the audience (improbably) thinks it’s all part of the show. Hoist instructs Bruce…err, Brick, to keep playing music to keep the audience from panicking! Brick and the Big Man launch into the next song, and the ploy works to keep the crowd enthralled and distracted from the missiles exploding over their heads. Even the arrival of Shockwave, in the form of a friggin’ 40 foot long laser gun, doesn’t seem to alarm the crowd. The Autobots defeat the bad ‘bots, and leave Brick to finish the concert. The show must go on…
The plot is loaded with massive holes. Earlier in the story, Autobot medic Ratchet is complaining that he doesn’t have enough spare parts, even gaskets, to keep the wounded ‘Bots from leaking to death. Then, a page or two later, there’s five brand new bodies built for the new Autobots, aka new toys that Hasbro had to sell. Then there’s the siphoning of the music from the concert to create energon, when the Decepticons could have just stolen the electricity itself.
Not a great issue, but since it introduced five new toys, as a kid I was happy with it.
2.5/5 stars
The comic has been reissued several times, notably by IDW As Transformers Generations #3, and again in the collection Transformers Classics #2.
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