Not quite a year ago, Aaron and I went to Toronto to splurge on music. Today I have returned from what is hoped to be a regular occurrence. I present to you, the spoils of war below. This is just a teaser. My goal is to edit together another documentary video like I did last year. This year I shot everything on my new BlackBerry Z10, which means I have to do some file conversion. With any luck I’ll be showing you all the details and fun soon. Until then, enjoy this teaser.!
RECORD STORE TALES Part 220: Blackout!
It seems like only last year, but in fact it was 10 years ago today. One of the only times we ever closed the store early was the Great Blackout of 2003. If you lived in, well, North America, you probably remember Blackout 2003.
I recall closing up shop in the mid-afternoon. It was obvious the power wasn’t coming back on, but the phones were working. We got the call to do our best to close up without power, and head home.
For many people, particularly in Toronto, this turned out to be an exceptional evening. People left their homes, went out and socialized. Many went to the beach. Me, I just sat at home and read a book until it was too dark to read. Then I turned in.
I fell asleep quickly, it was so quiet. Suddenly I woke up to the sound of the phone ringing. I reached for my watch, my eyes trying to focus on the glowing hands. 4:30 am. I didn’t know what to think.
On the other end was Brandon “You Are So Punk” Hunt, who worked at our Niagara Falls location. That first night, they incredibly still had power, although that wasn’t going to last!
“Man, why are you calling?” I yawned. “It’s 4:30 in the morning.”
Brandon Hunt paused. “What are you talking about?”
Frustrated, I answered, “I’m looking at my watch, you’re calling me at 4:30 in the morning!”
Brandon paused again, and answered simply, “Dude. Your watch is upside down. It’s 10:00 pm. I just got home from work.”
D’Oh!
The next day, Friday the 15th, the power was restored in the early morning. Still, we weren’t supposed to be open. The government had advised all non-essential businesses to stay closed, and not put additional strain on our fried power grid. Us being so essential, were open (of course). That is until about mid-afternoon when we again had to close, due to rolling blackouts. The shit thing about that was that we were absolutely slammed with people that morning, we were overwhelmed. A lot of them were what I called “tire kickers” — they like to ask you a lot of questions but they don’t buy anything. Since nobody was open except us and a few other “essential” businesses, it was like a holiday for the general public. People brought in used discs by the box load to sell, I kid you not. I went through 300 discs from one guy alone. I had him leave his box behind because it was going to take a couple hours to go through, and then we ended up closing while he was out. He came back a few days later for his cash and unwanted discs (which was most of them).
When people reflect back on the blackout, they usually have fond memories and stories. Not me! I remember shit stories! Oh! And I had to throw out all the meat that I had bought that day before work too, because the fridge had no power. Fuck you, blackouts!
THIN LIZZY – Thunder and Lightning (1983, 180 gram Back on Black reissue)
I love this album, it was actually the first Lizzy studio album I bought, on vinyl, from Tom’s store way back in the late 1990’s. I’ve always loved John Sykes from his work in Whitesnake and Blue Murder.
Thunder and Lightning is the final Lizzy studio album. It’s definitely the most metal, but it’s not the best sounding one (gimme Black Rose for that honour). It just strikes that chord inside. You know how certain albums just click with you and you don’t know why? That’s Thunder and Lightning for me, but I think it reminds me of that general vibe of heavy metal music in 1983. There are times it reminds me of Judas Priest.
This is the only album from the Lynott/Gorham/Downey/Wharton/Sykes lineup. It is produced by Chris Tsangarides (Anvil, Judas Priest). Wharton and Sykes both scored songwriting credits, which may be why this album sounds so much more “metal”. Wharton’s keys are not obtrusive.
Best track: Gorham and Lynott’s “Bad Habits”. If there was one track that sounded like old Lizzy circa Johnny The Fox, it’s “Bad Habits”. It’s just a rock and roller of a song with killer lyrics. Phil’s voice is noticeably a lot more raw, worn, but he works within his limitations as always. His voice remains as expressive as ever. In “Bad Habits” he sounds like he’s jonesing as bad as the title implies.
“Cold Sweat” is the one that Sykes co-wrote, and it is very metal, featuring his trademark guitar squeals and yet more great lyrics from Lynott. “I got a whole month’s wages, I haven’t seen that much in ages, I might spend it in stages, and move out to Las Vegas.” Love it. Sung by Lynott, those lines tell a whole story.
Really, there’s not a bad song on this album. “This Is The One” has some relentless pounding drums courtesy of Brian Downey (one of the true greats). “The Sun Goes Down” is a slower one with a keyboard solo, very atmospheric. It reminds me of the similarly titled “Night Comes Down” by Judas Priest. “Holy War” is another relentless pounder with a message to be heard. Not a bad track to be found.
If I had any complaints it would probably be the mix/production which at times comes across as a bit too bombastic and 80’s. I mean, it’s still Thin Lizzy, one of the classiest sounding bands ever. Thunder and Lightning is pretty evolved in sound from a classic like Jailbreak, and that may or may not be to your taste.
Some vinyl and cassette versions of Thunder and Lightning came with four bonus live tracks. They are actually from the Renegade tour and feature Snowy White on guitar instead of his replacement John Sykes. Thankfully, the current Back on Black 180 gram vinyl release restores the rare 12″ bonus EP. The four songs are “Emerald”, “Killer on the Loose”, “The Boys are Back in Town”, and “Hollywood (Down on Your Luck)”. These are great tracks. It also has a gatefold sleeve with lyrics inside. It’s a very nice package.
I’ve heard that 2013 will see the release of more Lizzy deluxe editions, including Thunder and Lightning. If that’s the case I will pre-order it as soon as I hear about it. There are still several B-sides from this period that are not currently available, such as “Angel of Death”, “Still in Love With You”, and “Don’t Believe a Word” live, and a remix of “The Sun Goes Down”. I don’t have these tracks, but it sure would be nice to get everything on one deluxe CD package, wouldn’t it? You guys paying attention, Universal?
5/5 stars
RECORD STORE TALES Part 179:
The Phantom of the Opera, and Paul Stanley’s Autograph
I seem to have lost my ticket, so I don’t know the exact date. I do know however that I saw Phantom of the Opera at Pantages around October of 1999. As you probably know, that was a big deal to us Kiss fans. Paul Stanley was playing the titular Phantom.
My memories of the performance are good. I recall there being a lot of longhairs and leather jackets in the crowd. I remember that Paul couldn’t keep that edgy scream out of his voice, but he still did a remarkable job with the material. I also remember he did a total rock star bow at the end of the show.
Having Paul play the Phantom was a stroke of genius. It pulled in thousands of people, like me, who otherwise would not have gone to Toronto to see the show. And it was a quality show. Paul had the vocal range to do it, just not that classic training, and he was a bit rough around the edges. But who cares? He was so popular they had to add several more weeks of performances to his stay. In fact I missed the chance to see him initially, it was only when they added the additional weeks that I got a ticket.
Now, you’re probably asking yourself, “OK, so what about that autograph? Did you meet Paul?”
No. But DJ Donnie D did.
I worked with this guy, DJ Donnie D. (Yeah, don’t ask.) Donnie went to see Phantom a few weeks after me, with his girlfriend (now wife). While in Toronto, walking down the street, he spotted a familiar figure.
“I know who that is. That’s Paul Stanley,” he told his girlfriend. “I have to ask for his autograph.”
He approached Paul who was kind, and signed their stuff. But Donnie went one step above and beyond the call of duty. He got me an autograph too.
He came into work on his next shift, and surprised me with it. “I had to get it for you,” he said.
I was blown away, I was jumping up and down I was so excited. How cool is that? I’m telling you right now, in my 12 years at the record store, I worked with some of the best people I’ve ever run across. Donnie was one of them. Thanks Donnie!
Next time on Record Store Tales…
Part 180: Google Rules
HAREM SCAREM – Harem Scarem (1991 WEA)
Harem Scarem didn’t emerge from the Toronto rock scene fully formed. Rather, they first appeared as an AOR pop rock group, assisted by pro writers such as Marc Ribler, Christopher Ward (“Black Velvet”) and Honeymoon Suite’s Ray Coburn. My sister Kathryn liked Harem Scarem because their singer’s hair made him visually resemble a lion! It would take them until album #2 to shed the outside writers and find their feet as a progressive pop rock band more akin to Extreme than Bon Jovi.
They did, however, create a buzz by selling loads of copies of their demo CD. This was a rare thing, since most bands released demos on tape. Very few had the resources to put together a CD, and this got them signed to Warner.
The result is Harem Scarem, a somewhat faceless but incredibly hooky pop rock record waiting for radio play. It spawned five singles, including the huge (Canadian) hit “Honestly”. “Honestly” might be most notable today for its video, a cheesy affair starring Judge Reinhold!
What makes Harem Scarem special is the vocal work of lead singer Harry Hess. The man has a powerful voice, and when teamed up with drummer Darren Smith, the result is a big thick layered harmony. The band was rounded out by bassist Mike Gionet, and virtuoso guitarist Pete Lesperance, who really didn’t get to properly show off his chops until album #2. He does shred here, but sparingly and somewhat buried in the mix.
The debut album is loaded with mid-tempo rockers and ballads. A few too many ballads if you asked me, side one of the album has three ballady tracks in a row. It was 1991, grunge had yet to appear, and a mixture of ballads and rockers was the tried and true path to radio and video play. The best ballad isn’t the hit “Honestly”, which I find incredibly boring, but the closing song “Something To Say”. It’s an acoustic winner, and features plenty of Pete’s enviable chops. Harry sings passionately; this is a song that fits in with the acoustic hits of the day such as “More Than Words” and “To Be With You”.
Rather than the ballads, I keep coming back to the rockers. “Hard To Love”, which opens the album, is one of those AOR tunes that Bon Jovi only wishes he could have written. “How Long” is similar, catchy as hell, a singalong rocker that begs the windows to be rolled down on a hot summer day.
The centrepiece of the album was “Slowly Slipping Away”, the debut single/video. Still a great song today, this straddles the boundary between rocker and ballad. Opening with acoustic guitars, it soon works its way into a killer chorus, with guitar hooks and powerful harmonies galore. This is the song that got me into the band, as soon as I heard it, I knew this band had something uniquely theirs to offer. Unfortunately it took them a while to fully expand upon their sound.
I saw Harem Scarem live at Stages in Kitchener early in 1992. They played most of this album, some new material, as well as a couple covers: “The Lion Sleeps Tonight” and “Crazy Little Thing Called Love”. They complained that the bar owners made them play covers, but it was “Crazy Little Thing Called Love” that underlined their potential. They absolutely nailed it and proved that they had a lot more to offer than the simple AOR of their album.
I signed up to be a member of the fanclub, and I still have my membership card. I’m glad I was on board from the ground up, since the band grew by leaps and bounds in the years to follow.
The Japanese import version of this album had three bonus tracks: acoustic renderings of “Slowly Slipping Away”, “How Long”, and “Hard To Love”. Those songs were available on a limited edition Acoustic Sessions EP, which I reviewed here.
If you’re into AOR rock, with lush harmonies, ballads, and melody, then you need to add Harem Scarem to your collection, particularly since the band have recently reunited. If that’s not your thing, fear not: I have a feeling you’d be into their later material such as Mood Swings and Karma Cleansing. This band had a lot more to offer than just rockers and ballads.
2.5/5 stars
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!
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.
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.
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….
…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
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
I found much to my horror that my original Amazon.ca Slash Puppet review had been taken and credited to some defunct site called “bandfocus.net”! I thought it would be wise to re-claim it for myself. Here it is in slightly revised form.
SLASH PUPPET – Slash Puppet (Fringe EP, 1993)
A short while ago, I reviewed the debut release by the legendary Toronto glam metal band, Slash Puppet. For a while there, it looked like Slash Puppet was destined to be the “next big thing”. They were winning awards, had national video play, and a stunning collection of hard rock material to draw from for their well-reviewed gigs.
Well, you know what happened next. Grunge took over, and the Toronto metal scene never exploded the way it was hoped. If it had, Slash Puppet would have been the band leading the charge. (With Winter Rose, I Mother Earth, Sven Gali, Russian Blue, Slik Toxik, Attitude, and so many others right behind…ahh, but I digress.)
This 1993 EP was their second release (the afformentioned debut is now available on CD as No Strings Attached, on Sun City Records). It is solid from start to finish. The singer, Mif (better known as Anthony J. Mifsud; you’ve seen him acting in the Norm McDonald comedy Dirty Work!) has a soulful, gritty, and gravelly voice that has elements of Brian Johnson and Lemmy, but really sounds like neither. Really, Mif sounds like Mif, and you have to hear the voice to get it. The band were tight, emphasizing tough riffs, killer choruses, and street-smart lyrics. No wimpy songs here. Even the sole ballad “Eyes Of A Child” isn’t a wimp-out. Not with lyrics like those, and a soulful delivery from Mif.
The lead track from No Strings Attached, “Slow Down”, reappears here, now parsed as “Slowdown”. (I believe this song is a remix with a new bass part, based on the credits. Peet Dove played bass on the original demo version but is not credited here, which leads me to believe the bass was re-recorded by new bassist Dave Carreiro. Otherwise, the song sounds almost identical to the demo version.)
Every song smokes. Slash Puppet down-shifted on speed for these songs, but traded that in for a slightly bluesier, soulful vibe. Their songwriting abilities grew by leaps and bounds between releases, no doubt enhanced by their live experience. When their debut was recorded, the band had not even played a gig yet! Slash Puppet is much more melodic than No Strings Attached, but still tough as nails.
If you’re into tough, glammy rock n’ roll with great musicianship and songwriting, Slash Puppet are the band to check out. This EP just shines. If you’re into collecting obscure albums from the era, or Canadian bands, this CD is an absolute must, although I saw one guy on ‘net claiming to have sold his copy for almost $200! I’m not sure I’d be willing to pay that much. Check thrift shops and used CD stores. I used to sell this in my store for $5.99.
This EP was mixed by Rich Chycki, probably best known for his 5.1 work with Rush!
Here’s hoping Mif and the surviving members reunite for a few more songs or shows. I’ll be there.
5/5 stars
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!
As for No Strings Attached?
4/5 stars, baby!
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!
Aaron sent me these photos too late to include in my video report. These were taken at Sonic Boom Music, and Pauper’s Pub.
Mmm, beer.
I’ve also compiled some of the photos of discs that I scored that day, from some of my review blogs.
And lastly, the video is below, in case you missed it!
mikeladano.com 