Terry Brown

REVIEW: Max Webster – Live Magnetic Air (1979)

MAX WEBSTER – Live Magnetic Air (originally 1979, 2017 Anthem remaster)

So you’re the canker banker?  They’re just Max Webster, here to thin the thickness of your skin.

Any good 70s act worth their salt had to have a solid live album. Max released theirs after four studio albums, a good basis for a fulfilling concert set. The 10 songs (plus one reggae jam) only begin to scratch the surface of their bizarre and rocking history, but a good 10 songs they are.

Want some rockers? Tap into “America’s Veins”. 70s radio rock? Take a lift up into the “Paradise Skies”.  Looking for some progressive rock?  You’ll find it “In Context of the Moon”.  The adventurous and quirky arrangements of some tunes are a direct contrast to the catchiness of others.  “Gravity” blends quirky and catchy into one successful gestalt.  “Charmonium” both challenges and pleases the ears at once.  Whether you’re soaring on “Night Flights” or biting into “Lip Service”, there is no filler on Live Magnetic Air.

One expects great playing on any Max Webster platter. Live Magnetic Air has plenty of that gonzo Kim Mitchell guitar work that he is known for.  Terry Watkinson’s keys explore different tones within single songs, never getting boring.  Yet it’s Gary McCracken’s drum work that seems to really shine, especially on the 2017 remaster from The Party boxed set.

It is difficult to throw too much praise at Max Webster, because surely they deserve it.  They were not as famous as Rush and not as worshipped as Zappa.  But those are the kind of names thrown about when speaking of Max Webster.  Each Max album is loaded with amazing material, but if you were looking to start with something, why not make it Live Magnetic Air?  The party atmosphere and ace selection of songs are the basic ingredients of a classic live album.  Now that it’s finally been properly mastered for CD, you can hear it the way you were always meant to.  For those who just wanna rock, the guitars have the crunch.  The discerning fan will enjoy the new clarity and depth that this remaster offers, without overdriving the levels.

Once again we wholeheartedly recommend The Party boxed set, but if you find Live Magnetic Air on vinyl, pick it up and hear what some genuine “Sarniatown Reggae” sounds like.

5/5 stars

Advertisements

REVIEW: Max Webster – The Party (2017 box set)

MAX WEBSTER – The Party (2017 Anthem 8 CD box set)

Normally when we review box sets like this, we prefer to review each album individually.  Three of the eight discs have already been covered here:  Max Webster (their debut), High Class in Borrowed Shoes, and Universal Juveniles (their final album).  The rest of the Max Webster albums will be reviewed in due time, so for now we will take a general look at their brand new CD box set, The Party.

The Max Webster catalogue (and to a lesser extent, the solo Kim Mitchell discography) has been well overdue for a remastering.  The original Anthem CDs are thin and tinny.  Rock Candy did a fantastic remaster of the first three albums with better sound and a generous booklet, but what about the rest?  I first heard about this project via Uncle Meat this past summer at Sausagefest.  It was one of those “know a guy who knows a guy” stories, but the bottom line was, Max Webster’s catalogue was being remastered.  And now we have The Party in hand as proof!

The contents include all five original Max studio albums, their concert opus Live Magnetic Air, Kim Mitchell’s very rare solo EP, and a bonus disc of rarities called The Bootleg.  Those who buy the forthcoming vinyl version will also receive a booklet with rare photos and other goodies.  The CD version has no booklet, but it does have nice gatefold packaging for each album.  It’s affordably priced, so we forgive the lack of a booklet on the CD edition. Vinyl owners can look at it as a bonus for buying vinyl.

If improved audio is what you are longing for, then you should be very satisfied with The Party.  It’s not overdriven, but it sounds fuller and deep.  They didn’t go for loudness.  This is all very good.  You can safely ditch your old CD versions, rendered obsolete by this box.

The Bootleg will be the main draw for many.  It does not disappoint.  In fact, it intrigues, because it teases that there is more.  Unreleased demos are listed as “Contraband” — reports suggest this refers to a collection of unreleased material still in the vault.

Max Webster apparently recorded their 2007 reunion show, or at least “Let Go the Line”.  It sounds brilliant and makes you pray for a live album of the show.  Terry Watkinson’s classic ballad sounds a little older, a little wiser, but just as brilliant as ever.  Other live stuff from 1979 was recorded in Oshawa.  “Oh War” simply smokes, and was not included on Live Magnetic Air.  Then there’s the crazy jam centred on “Research (At Beach Resorts)”.  These insane live sessions really show why Max Webster is held in such high esteem, almost like a second coming of Frank Zappa himself.

The unreleased demos include some songs that didn’t make Max’s albums.  Fans know “Deep Dive” from Kim Mitchell’s solo live album, I Am A Wild Party.  Max’s original 1982 demo is completely different.  Same melody, same words, but a vastly different arrangement.  It’s like rock and roll bluegrass, fast as possible, and insanely good.  It was likely deemed too different to be on the Universal Juveniles LP, but there’s no doubt it’s awesome and the highlight of this box set.

Another standouts from the batch of demos is a version of “Battle Scar” without Rush; just Max!  It’s a revelation; an interesting work in progress.  There are also two songs you’ve never heard before, “Walden 5” and “Better”, both from 1979.  Let’s just say that the quality of these unreleased Max songs is album level.  “Walden 5” just needed some editing.  A demo version of “In the World of Giants” from 1979 has way more guitar soloing.  Kim fans will love it!  Oh — and stay tuned for a surprise unlisted bonus track.

The box itself is just a cardboard sleeve, but at least an attractively packaged one.  Yes, a booklet would have been appreciated.  In lieu of that, we recommend Martin Popoff’s brilliantly detailed book Live Magnetic Air: The Unlikely Saga of the Superlative Max Webster to accompany this otherwise perfect set.

Oh, one last thing:  The two “new” songs that were included on the hits compilation Diamonds Diamonds are not in this box set.  So, to be a completist, you’d still need to track that one down.  Vinyl is recommended; and then you’d own “Hot Spots” and “Overnight Sensation” to complete the picture.  Just a word to the wise.

4.5/5 stars

 

REVIEW: Working Man (Tribute to Rush, 1996)

Scan_20160821WORKING MAN (1996 Magna Carta tribute to Rush)

This CD was released in 1996, and almost immediately the music press started reporting that Rush were trying to have it taken off the shelves.  One of our former owners at the Record Store, the infamous Tom, said:  “I can see why they were trying to do that.  Because it’s too fucking good.”

It actually is.  There are few tribute albums worth listening to all the way through.  How many can you name:  Encomium, the Zeppelin tribute?  The Sabbath tributes Nativity in Black?  Do you listen to those front to back?  That’s the best and only way to enjoy Working Man.  So numerous are the progressive rock and hard rock names here that we may have trouble keeping track of them all.

Sebastian Bach hails from the Great White North, so it is only appropriate for him to open this CD with the title track.  He also passionately stuns on “Jacob’s Ladder” a bit later on, utilising the power and range he is known for.  What names on these songs!  Mike Portnoy and Billy Sheehan play drums and bass respectively; two guys often cited as the best in the world on their instruments!  If that wasn’t enough, ex-Ozzy guitarist Jake E. Lee shreds the hell out of “Working Man” while John Petrucci from Dream Theater goes for the throat on “Jacob’s”.  Take a minute to absorb all that.

Seamlessly, “Working Man” develops into “By-Tor and the Snow Dog” with James LaBrie of Dream Theater in peak voice.  Sheehan and Portnoy handle the rhythm for most of the album, so you can be assured that the chops of Mr. Lee and Mr. Peart are served well here by the next generation of players.  Dream Theater fans will lose their shit completely.  But there is so much more here than just progressive rockers letting it fly.  A youthful and impressive Jack Russell from Great White takes on the galloping “Analog Kid” from Signals and wins.  Have no fear or doubts: this may seem strange, but Russell’s version of “Analog Kid” may well be one of the best Rush covers you’ll ever hear.  (Especially when Billy Sheehan and guitarist Michael Romeo do a synched-up dual bass/guitar solo!)

Other highlights:

  • The late Mike Baker of Shadow Gallery has no problems with “The Trees”, an excellent version.
  • Steve Morse (Deep Purple, Dixie Dregs, Flying Colors) takes the main guitar part for “La Villa Strangiato”, causing spontaneous head explosions.
  • Blue-eyed soul singer Eric Martin (Mr. Big) does a fine job of the light “Mission”, though it sounds very different from the shred-rock elsewhere.
  • A bang-on “Closer to the Heart” performed by Fates Warning is a must-have for fans.
  • James LaBrie and his old bandmate in Winter Rose, Rich Chycki, reunite on the classic “Red Barchetta”.  A little added Can-Con for rock fans.

And best of all, Devin Townsend screaming his balls off, all over “Natural Science”.  Without a doubt, Townsend has the most unorthodox interpretation, but it’s Devin Townsend, so you must expect the unexpected.  This guy is an underrated national treasure, and along with James Murphy (Death, Testament) on guitar, Stu Hamm on bass, and Deen Castronovo on drums, all walls are shattered.  “Natural Science” is undoubtedly the most different track here, and consequently it’s the most exciting.

The only mis-fire:

  • “Anthem”, with Mark Slaughter and George Lynch.  Slaughter’s voice is too shrill.  (I cannot handle when he shrieks “Come on!  Yeah!” at the start.)  George’s Eastern-flavoured shredding is also overdone and misplaced.

That means out of 13 tracks, 12 of them are keepers.

For an added layer of authenticity, the CD was mixed by Terry Brown himself, in Toronto.  Prices fluctuate wildly, but fans of Rush, Dream Theater, Sebastian Bach or Devin Townsend would be wise to pick this up if found in their travels.

4.5/5 stars

 

 

 

REVIEW: Max Webster – High Class in Borrowed Shoes (1977)

Scan_20150730MAX WEBSTER – High Class in Borrowed Shoes (1977 Anthem)

It’s only the second Max Webster album, but the band were so tight and perfect that they got three radio classics off it.  “Diamonds Diamonds”, “Gravity” and the title track are all three radio staples, and “On the Road” a live classic that Kim Mitchell occasionally plays unplugged.  Every fan has a favourite Max album, and I think I probably know a couple who would put High Class in Borrowed Shoes as numero uno.

The album opens with the impressive “High Class in Borrowed Shoes”, a blaster that sounds to me like a Canadian Van Halen!  Max had tamed some of their wackier tendencies (“Toronto Tontos”, anyone?) and focussed their chops.  Not that the new Max (now featuring legendary drummer Gary McCracken) was normal by any definition.  Just listen to the lullaby-like “Diamonds Diamonds”.  Great song, but very different for a rock band.  Its dreamlike mood is heightened by the surreal lyrics by Pye Dubois.  Not to mention there are only six lines to the words!

“Gravity” would make my top five Max tracks in a heartbeat.  “What do I know?  I sat under a cloud.  I looked up, afraid to look down.”  Kim sounds like a little boy speaking the words, to great effect.  The chorus is a big one, backed by a Kim’s riffing.  I have no idea what this song is about, but to me the line “Forget that fear of gravity, get a little savagery in your life,” says everything.  Don’t be afraid to take chances.  As Pye’s friend Neil Peart once said, just roll the bones.  That’s what it means to me, anyway.

Proving he has always been capable of tender ballads, “Words to Words” is one of Kim Mitchell’s first.  The keyboards of Terry Watkinson keep it just a little left of center, but Kim’s acoustic work is impeccable and excellent.   Pye Dubois’ lyrics are magical and stirring.  It’s hard to overstate just how quality this song is.  However ballads are usually best followed by scorchers, and that’s “America’s Veins”.  Killer solos, smoking drums, and a chorus built for the concert stage: it’s here in one complete package.

“Oh War!” is an incredible monument of rock.  AC/DC did a song with a similar vibe called “Little Lover”, but “Oh War!” is a completely different animal.  The gonzo solos are more in the “Z” section of the rock aisle, as in “Zappa”.   And check out the words!  “‘Cause I say fuck you instead of thank you, your choice under your breath.”  Yes, that’s what Uncle Kim, Canada’s favourite king of the summertime, just said!  OK, so it wasn’t going to get on the radio with those words…but damn, it should have been.  This song could have been almost as big as “Battle Scar” had it been.

I have a tape here of Kim Mitchell doing “On the Road” live in the MuchMusic studios, acoustically, on their Intimate and Interactive show.  This is what you might call “campfire rock”, but that sells it far too short.  “On the Road” is more than a song that would sound good played live around a fire, it has genuine soul that you can feel.  It’s an incredible song, and once again, I wonder why Max Webster wasn’t friggin’ huge.  “Rain Child” is next in line, which I would describe as a slow burner.  Terry Watkinson’s keys take center stage, never intruding.  “Rain Child” is a classic album track, and perfect for winding down the album.

IMG_20150730_182836

Max Webster went mad on the last track, “In Context of the Moon”.  This is the second of four “Moon” songs on the first four records:  “Coming Off the Moon”, “Beyond the Moon”, and “Moon Voices” are the others.  “In Context” can’t be described easily, because it spans many styles and tempos in just five measly minutes!  How?!  You have to play this one a few times just to get everything that is happening.  It’s certainly one of the most challenging pieces of music Max have recorded.  The four musicians must have rehearsed the shit out of this one.  Anyway, at all times, it smokes.  Whether it’s the bright intro guitars, or the metal riffs that follow them, or the sheer madness (including bass solo) that ensues, “In Context of the Moon” is always riveting.  It’s just non-stop even though by the time you get to the end of it, you’ll wonder how you got there!

Final note:  My good buddy T-Rev, who has guest written here a couple times before, met Gary McCracken after he moved to Sarnia.  He was working at Fastenal when in came a guy to pick up an “order for Gary McCracken.”  T-Rev pondered a bit before enquiring, “I hope you don’t mind me asking, but were in a band called Max Webster?”  Yes, he had.  It was that Gary McCracken, and he was cool.  I love little stories like that.  Gary McCracken was Trevor’s biggest influence as a young drummer!

Popoff's awesome book

Popoff’s awesome book

There is nothing more to be said in just a single review.   For the whole enchilada, get the book from martinpopoff.com!  And be sure to get High Class in Borrowed Shoes for your collection.

5/5 stars

REVIEW: Rush – 2112 (deluxe with 5.1 Blu-ray)

RUSH – 2112 (2012 Universal CD/Blu-ray 5.1 deluxe edition)

I received this deluxe CD/Blu-ray edition of Rush’s immortal 2112 for Christmas two years ago.  I meant to review it back then, but it slipped between the cracks.  Apologies.

The set includes: the entire album on Blu-ray in 5.1 surround sound, the entire album on CD, three live CD-only bonus tracks, hardcover packaging including a comic book, a new essay by David Fricke, and more.  Not to mention that the Blu-ray is a motion comic that combines the album with the included comic, seamlessly.

IMG_20141216_1454372112 was Rush’s fourth album.  It was make or break for Rush, and they went ahead and made an album with six songs, one of them being a side-long 20 minute epic!  That side would go on to be Rush’s best known epic, “2112”, which itself is subdivided into seven chapters (but not tracks).

Any truly epic album should open with an instrumental, and “Overture” is one of the best you’re likely to find north of the 49th parallel.  This regal anthem of guitars, bass and drums quickly leaps into action as an Iron Maiden gallop, long before Iron Maiden did gallop.  In this one brief intro, there are as many as four great timeless riffs.  It’s guitar riff nirvana.  All these musical themes will re-emerge later on in the “2112” story, but here they are condensed into one maelstrom of awesome.

The story is pretty simple, and is also nicely laid forth in the comic.  Our protagonist, who lives in the oppressive Solar Federation, has found an ancient guitar in a cave behind a waterfall.  He brings it to the Priests (of the Temples of Syrinx), to show them this wonderful discovery and the sounds it brings forth.  He is crushed to find that the Priests do not approve of this “music”!

Pretty highschool, right?  Maybe, but certainly no worse than what passes for Hollywood fodder today!

IMG_20141216_145411“The Temples of Syrinx” is chapter II of the story.  This is a ferocious metal assault, with Geddy in full-on scream mode, introducing the titular Priests.  They are the law, on this planet.  In my opinion, this is one of Rush’s finest musical achievements.  It’s heavy, concise and blazing fast.  In surround sound, I will admit I was expecting more.  The music fills the room in 5.1, but it’s not as enveloping as I had hoped.  It’s hard to specifically describe what’s missing.  Whatever it is, chapter III “Discovery” works better.  This takes place in the cave behind the aforementioned waterfall, and the water sounds have some depth to them.

“Presentation”, chapter IV, is when it all goes to shit for our protagonist.  It is here that he brings his newly discovered guitar to the Priests.  The motion comic makes it quite clear that the Priests do not approve!  “Yes we know, it’s nothing new.  It’s just a waste of time!”  The hero pleads with them, and tries to convince them that the world could use the music as a positive force!  But the Priest smashes the guitar on the ground and has no more to do with this nonsense.  “Another toy that helped destroy the elder race of man!” he claims of the guitar’s history.

“Oracle: the Dream” is chapter V, a mellow moment at first.  Then the character’s dream begins, and Geddy returns in full voice.  He dreams of change.  Alex’s guitars have a nice shimmer, as they fill the field directly in front and to the sides.   Waking from his dream, chapter VI is “Soliloquy”.  Like “The Dream”, guitars dominate.  Geddy’s pleading lead vocal is an album highlight, as is Lifeson’s Sabbath-y guitar solo.  It all ends in chapter VII: “Grand Finale”.  In a nice twist to the motion comic, Geddy Neil and Alex appear as characters from the invading and returned elder race of man!  The era of dominance of the Priests is over, as is side one.

“ATTENTION ALL PLANETS OF THE SOLAR FEDERATION!  WE HAVE ASSUMED CONTROL.”

The motion comic does not end here.  Each song from side two of 2112 receives its own panels, and the band appear in each one — a very cool touch that I did not expect.  “A Passage to Bangkok” was the lead track from side two.  This crushing anthem with an Oriental feel is one of Rush’s few drug songs.  In fact it’s the only one I can think of right now.  “Sweet Jamaican pipe dreams, golden Acapulco nights…”  Rush somehow had a way of making this all sound classy and cultured, and perhaps from their perspective it was.  In the comic appearance, the Professor has his nose buried in a book on a train, as he often did.  Once again I’m underwhelmed by the 5.1 mix.  I want to feel enveloped by the music, but I don’t get that as much as I’d like.  I do hear more of Geddy’s bass, and that’s never a bad thing.  I’m noticing licks I never picked up on before.

“The Twilight Zone” is a different song for Rush, as it has a slower sway to it.  Lyrically, I can identify several of the old Twilight Zone episodes that Geddy is singing about.  Can you?  I don’t think this will top anybody’s charts of Rush’s best lyrics, but it’s goofy fun and sometimes that’s enough.  A Zeppelin flavour inhabits “Lessons” which has the acoustic-electric mix that Zep mastered.  Likewise, the backing mellotron in “Tears” reminds me of John Paul Jones.  This is a mournful slow song, not at all what many people expect from Rush.

“Something for Nothing” ends the album on a solid hard rock note.  Thematically, it is full circle, as the character in this song also seeks answers in life.  Rush close the album on a furiously jamming note, ending with a song that has all the Rush trademarks rolled into one short ride.  If the last couple songs just didn’t have enough juice, then “Something for Nothing” ends it right.  Side 2 of 2112 isn’t perfect, it has its ups and downs, but this is an “up”.

The vintage live CD bonus tracks are all unreleased.  They include the first two parts of “2112”, and “A Passage to Bangkok”.  Geddy coyly says that this song “deals with foreign matter”.  I’ve no doubt!  Incidentally I’m of the belief that “Bangkok” is better live than on album. Having said that, the Exit…Stage Left version remains definitive.  Blu-ray bonus features include a goofy photo gallery of blow-dried haircuts, kimono, mustaches and concert shots.  Looking at these photos, I’m reminded that Rush were for all intents and purposes, just kids when they created 2112.  With that in mind, it’s pretty impressive.

As for this reissue, I’m not very blown away by the forgettable 5.1 mix.  Too bad.  It’s a blown opportunity.  On the other hand, I very much enjoyed the included comic.  I think it’s excellent, and geared straight to Rush fans.  So:

For the album: 4.5/5 stars
For the reissue:  3.5/5 stars
Average rating:  4/5 stars

REVIEW: Rush – Fly By Night (including 5.1 mix)

Click here for Aaron’s loving review of this album, from his Rush “Partial Series”.  

RUSH – Fly By Night (1975 Anthem, reissued 2011 in the Sector 1 box set)

Gotta love this album cover.  It is classic.  Always has been.

This, the first album ever to feature “The Professor” Neil Peart on drums and lyrics, is the birth of the new Rush, the Rush we know today. Slowly shedded were the straight-ahead rock sounds, although their shadows remain (“Best I Can”, for example). In the stead were acoustic guitars, songs about Elvish cities, and much more complex arrangements. Fly By Night remains today a beloved and important slab o’ wax in the mighty Rush canon.

For the most part Fly By Night remains heavy although the rawk groove is gone, replaced by…well, I don’t know what to call it. In it’s place is sheer ability, filtered through the Canadian lens; the snow-white brilliant abilities of Lifeson, Lee and Peart, barreling straight through the winter night, determined to just frickin’ play their tails off. (How did ya like that run-on sentence?) To listen to this monster is to listen to three kids who knew they were better than the other kids on the block. Maybe the songwriting wasn’t entirely there yet but the pieces were falling into place.

You can’t beat “By-Tor” for its piercing vocal and metallic romp, yet it bends and slithers through a lengthy instrumental section. “Anthem” harkens back to the groove of album #1, yet foreshadows the heaviness of album #3. It remains one of Rush’s most identifiable rampages. The title track reveals hippy-like happiness sheathed within the band’s monstrous technical abilities.  “Making Memories” is fun acoustic-based classic road rock.  “Rivendell” is a personal favourite, an ode to the home city of Elrond and his Elf kin.

Like many Rush albums of the early 1970’s, some of this music might be impenetrable to the uninitiated. However, one must push through it in order to appreciate where this band came from and where it was going.

Finally, when this album was reissued in the Sector 1 box set, a 5.1 mix on DVD was included as a bonus.  I couldn’t leave you without speaking about that mix, briefly.  It’s a pretty straightforward surround mix, presumably because as Rush albums go, Fly By Night is a lot more straightforward than the later discs.  Not a lot of tracks and instrumentation to play around with.   It’s clear though, and it’s a pleasure to listen to.  I only wish I had the ability to listen to 5.1 mixes more frequently, so I could get to know this disc a little better.

As for Fly By Night?

4/5 stars. The best was yet to come….

 

REVIEW: Psycho Circus – Scarred (1993)

This was one of the first, if not the first, discs I bought with my staff discount at the record store!  I wonder if Deke remembers these guys?

SCARRED

PSYCHO CIRCUS – Scarred (Anthem 1993)

20 years ago, Psycho Circus were one of the bands hyped as the “next big thing” out of Canada. They originated in Mississauga, Ontario, just west of Toronto.  They signed with SRO management (Rush, Van Halen, King’s X, Extreme) and producer Terry Brown (also Rush) and released a trendy but still unique goth-rap-funk-metal album called Scarred.  They also released a music video for the excellent “Pulsate”.

These guys were hanging out with old dudes way before Our Lady Peace.

The problem with Psycho Circus is their split personality.  On one hand (roughly half the album) they inhabit this cool, dark land I call Diet Faith No More.  Singer Vince Franchi has the lungs and range to emulate Patton’s style on The Real Thing.  Their cool use of keyboards also reminds me of that band, but without the dementia.  On the other hand, there’s a goofy rap-funk side, which does not appeal to me in the least.  I think funk metal got stale very quickly, and the juvenile lyrics render the rapping limp.  “Acid Monkey Junk”, a song about the testing of cosmetics on animals, is painful at time.  “Monkeys in the ocean and fishes in the trees?”

A M.E.A.T Magazine interview by Karen Bliss, from 1993, reveals that the band had already dropped even more irritating material from their live set.  They name a discarded song called “Picky Purple People” as being particularly notable for its silliness.  Glad I didn’t have to hear that one.

 

I prefer the Diet Faith No More side of the band: hard, melodic and dark songs like “Thru the Backbone” (which also features rapping in a non-annoying way).  “Pulsate” is easily the best song on the album, demonstrating Franchi’s impressive vocal range and power.  I’m also fond of the angry “I Know”, the haunting “Leave Me Alone”, and the closer “Goodbye”.  The rest of the album is unfortunately skip-worthy and occasionally irritating to me.

There was also a CD single made for “I Know” featuring an exclusive “Psylicone Mix”.  Although I don’t enjoy the remix as much as the album version, it’s notable for being remixed by Brown and the band, not some outsider.  I happened upon this single within my first year at the record store, and it surely must be one of the rarest discs I have.

For half a good album:

2.5/5 stars

M.E.A.T Magazine

GUEST SHOT: 30 Albums that Uncle Meat Thinks You Should Visit (Or Re-Visit) Part 3

Meat is back for the final installment of his essential list:  30 Albums that Uncle Meat Thinks You Should Visit (Or Re-Visit).

Missed any?

Here’s Part 1.  

Part 2 is here.

And make no mistake, Meat wrote every word.  No messing around from me.  Enjoy!

PET SOUNDS   –  THE BEACH BOYS (1966)

When The Beatles released Rubber Soul in 1965, Brian Wilson heard something that inspired him to try and make his own masterpiece.  The result was Pet Sounds, which saw The Beach Boys discard their typical surf-inspired ditties and create an album that will always be a classic.  I remember when I first heard this album I was completely blown away that it was a 1966 album.  The overall sound of it is so full and rich, and it’s funny how everyone thinks The Beatles main influence for Sgt. Peppers was drug-related, and I am sure it was, but that classic would never have been without this classic album first.  Do yourself a favour and re-discover The Beach Boys by checking this out.

 

QUEENS OF THE STONE AGE  –  QUEENS OF THE STONE AGE (1998)

There are a lot of people that think that the QOTSA album Rated R, is the band’s first release.  In all reality it is their third release if you count the Kyuss/Queens of the Stone Age EP. However, it is a shame that this album has been somewhat overlooked.  I think it is by far their best album.  To gauge just how much I got into this album could never be measured.  For years, I stated that this album was my favorite album ever with distortion.  Now trust me I realize the exaggeration in that statement (I have since relented) but it doesn’t take away how brilliant I believe this album truly is.   This is a true collection of groovy rock songs, so much so that QOTSA could have titled this album exactly that.  I have not been a fan of the last few QOTSA albums, and frankly I wish they could harness this approach once again.  Check out the included track “Avon”.  An absolute air-drumming seminar at its finest!!

 

ROXY & ELSEWHERE  –  FRANK ZAPPA & THE MOTHERS (1974)

One of the albums previously on this list, Joe Jackson’s Big World, was a live album containing new material.  Considering the content of this particular album, that format was never more impressive or more challenging than Zappa’s album Roxy & Elsewhere.   From beginning to end, it’s hard to believe the complexity of what was happening onstage during these recordings.  From the colourful vocals of Napoleon Murphy Brock, to the guitar-fueled madness of Zappa himself, this is my personal favorite of all of Zappa’s recordings.  Songs like “Pygmy Twilite” and “Village of the Sun” are absolute genius.  The concert film of these recordings is STILL in limbo for whatever reason.  Included is a clip of the song “Montana”, recorded during these sessions but not included on the album itself.

 

 

SCENES FROM A MEMORY-METROPOLIS 2  –  DREAM THEATER (1999)

I simply couldn’t do a list like this without including Dream Theater.   I like heavy music and I like progressive music.  This band combines those two qualities perhaps better than any band ever has, and on this album its done to perfection.  This is your classic “concept album” and tells an interesting story that needs to be experienced.  But the true experience of this album is that it is a piece of song-writing and musical brilliance.  If you have seen Rush’s biopic Beyond The Lighted Stage,   you might recognize the now-familiar voice of long-time Rush producer Terry Brown (who also produced the vocals on this album).   The album sees John Petrucci and Mike Portnoy at their monster best and requires many listens to truly appreciate.  I am not a “Rolling Stone” magazine guy myself, but it does say something that in 2012 they named this album as the Number One all-time progressive album, beating out Rush’s 2112 and Yes’s  Close to The Edge.

THE ACTION IS GO  –  FU MANCHU (1997)

This album starts off with a bang, it also ends with a bang and actually this album is just one big resounding rhythmic bang.  After a few good, but not great albums (in my opinion), new drummer Brant Bjork was brought into Fu Manchu.  This would result in one of the greatest “Stoner-Rock” albums of all time.  This is literally the perfect driving album.  Sometimes you find yourself emulating driving just sitting and listening to it.   You can hear a huge Sabbath influence on this album, at least in the sound of the instruments and the driving low end.  Sometimes the vocals can leave a bit to be desired, but it is not really singing in the first place.  Almost sounds like a dude talkin’ to himself, which adds to the coolness of this album.  One of my favorite albums of the 1990’s indeed.

WELCOME TO SKY VALLEY  –  KYUSS (1994)

Somewhere around early 1995, I walked into a Sunrise Records where Tom (Tom has been mentioned many times in Mike’s blogs) was working.  At this point Tom and I only really knew each other from local concerts we would run into each other at.  The second I walked in he begged me to check out this Kyuss album on the listening station.  I remember the look on his face when I didn’t instantly “get it”.  Years later I had to bow to him and thank him for trying to open my eyes earlier.  No one knows how to set a mood quite like Kyuss.  The last album listed was Brant Bjork’s first album with Fu Manchu.  This album is the last Kyuss album featuring Brant Bjork on drums.  No coincidence here.  This man knows how to wash songs with a subtle intensity.  Check out the song “Demon Cleaner” sometime, with Josh Homme singing and see how Queens of the Stone Age were born.  This album has been listed as a major influence for many of the heavy metal greats of the day.

 

WHALE MUSIC  –  THE RHEOSTATICS (1994)

The Rheostatics are definitely one of my favorite bands of all time, and the artist I have seen live the most in my life.  Any band that calls their first album Greatest Hits obviously has a good sense of humour.  There really is no album that quite captures “Canadiana” quite like Whale Music.  Not to be confused with the later-released official soundtrack of the same name, this album ranges from the sweet to the insane.  Take the song “Queer” for example.  “Well the screen door is still broken, since you kicked your Kodiaks through it” and “I scored a hat trick on the team that called you a fuckin’ queer”, are lyrics that paint a Canadian portrait of everyday life.  I love this album and frequently re-visit it only to find it gets better with age.  Notable appearances on this album are Neil Peart on a song called “Guns” and The Barenaked Ladies (credited as The Scarborough Naked Youth Choir).   Included here is the amazing opening track.  Check it out eh ….

WHITE PEPPER  –  WEEN (2000)

Simply put, this is my favorite “Pop” album of all time.  I am not a Ween fan per se. I cannot say I have actually connected strongly with any of their other albums.  But when this album was introduced to me, it grabbed a hold of me and it will never let go.  First of all, the sound on this album is absolutely wonderful.  Second of all, the melodies on this album (with sprinkles of Ween weirdness of course) are something very reminiscent of The Beatles.  I have always tagged this album as their “Beatles tribute”, and it was pointed out to me by a friend that “The White Album? Sgt. Peppers?  White Pepper?”. Now I have not read that in fact that is what the name truly means, but I think that is a very good guess.  I have played this album for a few musician friends of mine and the result is pretty much the same across the board.  White Pepper  simply “hooks” you in, it is that simple. Check out the Trey Parker and Matt Stone directed video for “Even If You Don’t” included here.

 

UNCHAINED  –  JOHNNY CASH (1996)

I was working at the “Record Store Chain” Ladano blogs about when I was first introduced to this album.  It was instantly a revelation of what I do actually like about Country Music, and was the reason I became a fan of the older-style albums of the genre.   Not enough can be said about the genius of Rick Rubin.  The man who changed the careers of Slayer, The Beastie Boys and the Red Hot Chili Peppers got a hold of Johnny Cash and re-introduced him as the icon he always was.  Hiring Tom Petty & the Heartbreakers as the backing band for the second American Recordings Johnny Cash release was a stroke of brilliance.  The opening track “Rowboat” sees Cash cover a Beck song and make it his own.  “Sea of Heartbreak” is a melodic ass-kicker.  Everyone by now knows of the genius cover of Soundgarden’s “Rusty Cage”,  so good in fact that for a long period of time Chris Cornell refused to play it live stating “It’s not our song anymore.  It’s Johnny’s now”.  No album of this genre has ever sounded bigger, if not any genre.  A must have album.

VS.  –  PEARL JAM (1993)

This album had to be included on this list.  I understand that everyone looks at Pearl Jam’s  first album as this massive crowning achievement, but frankly I didn’t get it then and I really still don’t.  Their second album I think is the best album of their career and probably my favorite “Grunge” album ever.  Every song on this album is a classic to me and it does seem weird to call an album that was a Number One album on Billboard for five weeks straight “underrated”.  But I truly do feel this album gets overlooked and that’s a shame.  I find Ten to be kind of boring and redundant to be honest.  This album is still fresh to me.   I hope when it’s all said and done that this album is what truly defines them.

 

REVIEW: Max Webster – Max Webster (1976)

This one goes out to T-Rev!

MAX WEBSTER – Max Webster (1976 Anthem Records)

It is difficult to recall a better debut album than this 1976 masterpiece by the four-headed enigma known as Max Webster. Kim Mitchell (vocals/guitars), Mike Tilka (bass), Terry Watkinson (keys) and short-tenured drummer Paul Kersey, along with lyricist Pye Dubois, seemingly emerged fully-formed with this immortal classic.  Right from the feedback kicking off “Hangover”, this album feels like it was custom designed for awesome sauce.

When I first heard it, I recall finding the album artwork mildly disturbing and the music jittery and off-putting. That was first listen.  Then, Trevor bought it (and numerous others) for me for my birthday one year.  THANKS T-REV! 

It only took two more listens to appreciate this album for what it is: A paradoxically funny yet progressive masterpiece that runs the gamut from bizarre to blues to rock to country to campfire,with poetic lyrics to match. From the seemingly out-of-control “Hangover” to the mournful “Lily”, this album really does have it all.

Of note:  This album was produced with Terry Brown, who helmed many Rush classics.

Like Frank Zappa’s bastard children, Max Webster emerged from Sarnia Ontario, perplexing and rocking audiences from coast to coast. Despite the diversity in sounds and challenging arrangements, this band was not short on melody and managed to create catchy songs out of the most absurd material, such as “Toronto Tontos”.  Yet this is balanced by songs like the groovy “Here Among the Cats”.  Regardless, it’s impossible to get either song out of your head.  Mitchell’s soloing on “Here Among the Cats” is stunning, by the way. 

You can’t understate how important, groundbreaking, and fantastic this album is. Just listen to the upbeat “Blowing The Blues Away”, or “Only Your Nose Knows” for a taste of the best music that Canada has ever put up for offer.  “Summer’s Up”…”Coming Off the Moon”…not a bad song in the bunch.  I understand that there are deluxe Max editions available now. I think I might pick one up and see how they are.

I think I’ll start with Max Webster!  (Note:  Don’t tell Mrs. LeBrain, but I did order it from Amazon a few moments ago.)

5/5 stars