Today Tim’s dropping a special episode of Tim’s Vinyl Confessions: Getting me into Y&T! We were joined by John the Music Nut, and they did some gentle arm twisting. Check out that episode on TVC today.
On my channel, you can watch the unboxing. These are some sweet discs! Have a look for yourself.
This is what we were up to Friday night, hence no episode of Grab A Stack of Rock. Worth it! I had a great time on Rock Daydream Nation with Peter Kerr, Tim Durling, John Clauser, and Reed Little.
This time we took a fairly deep dive into Coverdale-Page, the 1993 album and project featuring Jimmy Page of Led Zeppelin and David Coverdale of Whitesnake. We discussed the history, the rumours, the tour, the performances, and of course the songs. Was it more Led than Snake, or vice versa? What were our first impressions when we heard Page and Coverdale were teaming up? What songs would we choose to spotlight?
We also spent a moment honouring the fallen Bernie Marsden (Whitesnake). Rest in peace, Bernie.
I’m thrilled to be joining another Rock Daydream Nation show about another super-secret topic, this time with a serious cast of characters! Tim Durling, John Clauser, Reed Little and I will be alongside Peter to discuss one of the most talked-about albums of the early 90s. A personal favourite. In fact, Deke and I interviewed the co-producer several years ago, on the LeBrain Train.
I’ve narrowed it down for you…now it’s time to guess!
Another reason I’m excited is that this is my first official show with John Clauser, who I like very much and have been looking for a chance to work with. Can’t wait to chat, John! Check out John Clauser at My Music Corner on Youtube. This outta be good.
This is the second of three Night Ranger albums given to me by Tim Durling, and the second I have reviewed “live” with him. It is also the second, and last album to feature Joel Hoekstra on guitar who was soon off to join Whitesnake, where he remains today.
The title track “High Road” opens with some highbrow keyboards and an immediate melody. There’s a nu-country vibe to the chorus, but Jack Blades keeps it in rock territory. Tim Durling says he hears Damn Yankees, and I get that too, but I do hear that twang. “No the **** you don’t,” says Tim. The Gillis guitar solo is absolutely mental, tickling all my fancies. Great song…even if I’m hearing something that isn’t there. Sounds like summer to me.
Per Tim: “Here’s the problem with “new country” – most of it is just 80s rock with a slight twang – therefore, when a band like Night Ranger that legit came from the 80s makes new music, and it’s not super heavy, it could easily slide into that…and I HATE THIS!” Me too buddy, and that’s probably what I’m hearing.
The opening guitar of “Knock Knock Never Stop” recalls “Poundcake”, but this track could have worked on a certain 1983 by a British band from Sheffield…perhaps it already did! That’s the ballpark we’re in. It’s a popular place. Heavier guitars roll in on the groover “Rollin’ On” which sounds like a Morse/Airey-era Deep Purple classic. Not a sound you hear often, so bring it on.
“Don’t Live Here Anymore” is the first slower tune, but it’s got blues in the vocal and passion in the soul. Amazing vocal, just right in the pocket with grit and heart. Perhaps there’s a Whitesnake vibe here. Coverdale could easily “coverversion” this song. Then suddenly it picks up, and we’re in a Rainbow riff, kicking asses and scorching minds. This wouldn’t be a ballad, but an epic — because suddenly here are the angelic Night Ranger harmonies. If that wasn’t enough…it’s solo time! Epic, just epic, in arrangement, performance, production, mix…head to toe epic. The centerpiece.
A fun guitar riff opens “I’m Coming Home”, and I’m getting light progressive vibes overall. This track rocks in an 80s way, but not simple or straightforward. There’s tension, release, and pounding melodies. Midway, Jack throws down a neat bassline, right before a ripping solo tears your head off.
“X Generation” continues the hammering vibes, but in a modern context. It’s the first song that is failing to connect. Nothing bad about it, just didn’t have the same impact as the previous five tunes. Sounds like a number of bands from the Night Ranger era, making it work in the 2000s. Skid Row with Sollinger on lead vocals, perhaps.
“Only For You Only” is a lovely piano ballad with Jack singing, something akin to what some people expect from Night Ranger. These guys can really sing and that’s what sells it. For some steam, check “Hang On”! Slow and grooving with keyboard accents and a chugging bass, this song is boiling hot. Killer tune, delivering the heaviness without having to go full bore. Solos that burn. Awesome sauce.
Then, the spirit of Eddie Van Halen comes to the house on the intro to “St. Bartholomew”, an absolutely scorching song, at Fahrenheit 451. Once again, the vocals make it uniquely Night Ranger. Other bands may attempt songs of this nature, but few have the combination of chops and vocals that Night Ranger has. Unique dual solo here too with Brad and Joel Hoekstra trading licks.
The “standard” track list shows 10 songs, with “Brothers” being an acoustic closer. Definite Shaw-Blades vibes here. Hippies singing in a field, with a guy playing an electric guitar with the sun blazing behind him…that’s what I see. As per Tim, “and anyone stepping within twenty feet of any of them gets a huge contact high.” They were definitely spinning “Hey Jude” before they wrote this ending.
Then we have the two “bonus tracks”, though we don’t know why! They do sound separate from the album because “Brothers” is an ideal closer. “L.A. No Name” is an acoustic workout, with the two guitarists playing a beautiful classical and Spanish influenced number that could have been a textbook workout for expert students! This is not lightweight, not by any stretch.
The last song is bonus track “Mountain Song” which really shows off Jack’s creativity as a writer of basslines. It has an “Eye of the Tiger” vibe, but far heavier and punchier. Tim: “It’s similar to “Halfway to the Sun” from 1988’s overlooked Man in Motion album.”
A solid 4/5 stars. The first “side” is stronger, but there’s nothing to skip.
Here’s one of the super-secret tapings I’ve been talking about! Helix – Part One was the Capitol Years with Martin Popoff and Tim Durling. I twisted Grant’s arm and talked him into covering the rest of the Helix story. In Part Two, Tim and I joined Grant to discuss everything Helix from Over 60 Minutes With… to Live in Buffalo. There’s a lot of story there, from Paul Hackman’s unfortunate death to the lineup changes that followed. Some great music too: Back For Another Taste, It’s A Business Doing Pleasure, Half-ALIVE and B-Sides being some of the highlights we discussed.
In Part Three we’ll finish the story, going from Rocking In My Outer Space to “Brother From Another Mother”. We will also discuss the first two Helix albums in detail since some killer reissues fall in these years.
RECORD STORE TALES #1079: How To Take the Weekend Off Guilt-Free
Out of necessity, I’ve leaned back into live streaming hard this summer. It was survival and I have to thank Jex Russell and Harrison Kopp for helping me make this happen. Jex was there for me when all plans went out the window and along with Mr. Kopp and an array of awesome friends, we have managed to put out some of the best shows, and most popular to date. The Canada Day show was a raging success.
I’ve also been busy recording projects behind the scenes some of which haven’t even been released yet. I did a couple with Tim’s Vinyl Confessions, one with Grant’s Rock Warehaus. and one with Rock Daydream Nation, among other projects. It’ll be cool for me to watch these as they finally drop, as we had good times talking controversial rock topics!
In order to enjoy what’s left of summer, and some earned time off, there will be no Grab A Stack of Rock tonight. In fact, for the remainder of the season, if I’m at the cottage there won’t be a night show. The sun is setting earlier, and there’s no wasting daylight around here. And so, we’re taking this weekend off guilt-free.
It’s not easy, but sometimes in work, in life, and even in friendships, you have to prioritise yourself. That’s OK; and you have to tell yourself that’s OK. Get all your work stuff together so all your responsibilities are taken care of. Make sure you’re good to go. And then go!
There’s only so much time left before the leaves start changing, and this time, I’m going into autumn with a new attitude and new strategies. No more making my plans around other people. This time it’s about me – guilt free.
Journey began scoring hits when they acquired powerhouse vocalist Steve Perry on Infinity (1978) and Evolution (1979). Why not issue a compilation sourced from the band’s first three Perry-less records, with new cover art that ties into their present? Seems like a no-brainer. And so we have Journey’s first compilation album (and a double length at that) called In The Beginning. Thank you Tim Durling for gifting this copy for the collection and for review.
In The Beginning contains five of the seven tracks from Journey’s self-titled debut. It begins with three. As on the original LP, “Of A Lifetime” opens. The long organ and guitar-drenched opening gives way to a slow and passionate Gregg Rolie lead vocal. Were Iron Maiden influenced by this song when they wrote “Strange World” for their own debut? Probably just coincidence, but it can be heard. The main hook in “Of A Lifetime” was the unmistakable guitar hook. At this early stage, Journey boasted two guitar players: Neal Schon and the late George Tickner. They have to share the spotlight with an absolutely raging Aynsley Dunbar on drums and Rolie tearing it up on the synth. Undervalued bassist Ross Valory also must be mentioned, playing concrete but melodic foundations under the feature players.
George Tickner’s instrumental “Topaz” goes second, starting slow and then taking on a jamming, progressive jazz rock fusion vibe. This complex track is not to be taken lightly. Just absorb every different section as they hit you. Once again, Dunbar is a monster. Third is “Kohoutek”, the memorable Schon/Rolie instrumental that was also track three on the debut album. On vinyl, in both cases, it closed Side One. It’s another challenging track with a cool galloping section. (There’s a reason I’ve heard Dunbar referred to as an octopus – he sounds like he’s playing with eight arms!)
Rolie’s “On A Saturday Night” from album #2, Look Into the Future is a completely different style from the first three progressive sprawls. Under four minutes with a bopping piano, this is just great rock and roll! Tickner was out and the band was reduced to a quartet with Schon as the sole six-stringer. Shades here of where the band would head once they figured out their future direction. Schon’s solo is an example of melodic composition. The Beatles cover “It’s All Too Much” from Look Into the Future follows. It fits this new concise straightforward Journey sound, and it is quite excellent. Rolie was the perfect guy to sing a George Harrison song, and the backwards ending is suitably trippy. The blues “In My Lonely Feeling/Conversations” takes us back to the debut album. This Rolie/Valory composition scorches with passionate fretwork. Not surprisingly, the bass is the foundation. Also from the debut, “Mystery Mountain” closes side one. A short, but jamming track with subtle use of the wah-wah pedal.
Opening (cassette) Side Two, “Spaceman” from Next (album #3) was a melodic single. Journey were honing in on that simple pop rock ballad. “Spaceman” is one of their first. As it did on album, “People” follows “Spaceman”, featuring synth and acoustics. Very psychedelic for Journey. The back to album #2, “Anyway” rocks hard and slow, like a monumental Whitesnake track from the 70s. (Dunbar later joined Coverdale & Co. for 1987.) From the same record, “You’re On Your Own” switches from slow and bluesy verses to a pounding chorus, enabled by Aynsley. There’s a Beatles influence here in “I Want You (She’s So Heavy”).
We’re into the last tracks here, as vinyl listeners would have been flipping to side four for “Look Into the Future”, a brilliant ballad and one of the band’s early best. “Nickel and Dime”, a legendary jam from Next feels like a throwback to the first album and for good reason: it’s a leftover Tickner co-write! And finally, In The Beginning closes with the epic “I’m Gonna Leave You”, the same song that closed the debut Journey. Coupling some killer organ with with a heavy riff, this bluesy rocker also boasts some of Rolie’s best vocalizin’. Legendary!
For those who only know Journey as a lovin’, touchin’, squeezin’ band of crooners and balladeers, this compilation would come as a shock to the system. But a shock can be a good thing. In The Beginning is a great way to get many of the key tracks from the first phase of Journey in one purchase. This stuff doesn’t usually make it onto regular Journey compilations. It’s a good set to own.
Today we wish Sam J. Jones a happy birthday, on a very special Tim’s Vinyl Confessions. Join Tim, Jex and I with Robert Daniels in his first-ever Tim’s Vinyl Confessions. Only this time we’re not confessing vinyl! Not really anyway. Yes, Queen did the soundtrack, but our focus was more on the celluloid.
Apologies in advance for any Flash Gordon fans who will automatically hate my perspective on this show. At least it was funny…
I have not had time to put together a new cottage video yet, due to the insane amount of photos and footage I’ve accumulated.
It was another very busy five day weekend! I did two shows (one Grab A Stack of Rock, and one Tim’s Vinyl Confessions). We listened to a lot of music – Arkells, Alice Cooper, Deep Purple, Black Sabbath, Y&T, Night Ranger, and more.
In this photo set you can see:
My recording location for Tim’s Vinyl Confessions, by fireside.
Jen and I jamming some acoustic bass on the porch.
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