Sunday, July 3, 2016

Budgie - 1980 - If Swallowed, Do Not Induce Vomiting (EP)

If Swallowed, Do Not Induce Vomiting (EP) 

01. Wild Fire (5:13)
02. High School Girls (3:39)
03. Panzer Division Destroyed (5:55)
04. Lies Of Jim (The E Type Lover) (4:45)

Bonus Tracks (Live 1980)
05. High School Girls
06. Panzer Division Destroyed

- Burke Shelley / vocals, bass
- John Thomas / guitar
- Steve Williams / drums

Though invariably obscured by time, this curiously named EP was once a relevant piece of Budgie’s puzzling legacy. This was the first recording to feature new guitarist John Thomas after longtime member Tony Bourge’s departure, it was the first recording of Budgie blazing into the 80’s, and it was the first to showcase their latest sonic incarnation: a brash, rocking style of heavy metal many have compared to the NWOBHM sound inevitably sweeping the isles. With all this working in their favor, could this new bird be the superior breed?

The answer depends on how attached you happen to be to the cherished Budgie sound of yore. This version of Budgie happened to be tragically unsubtle. “Wild Fire” brandishes a stock 80’s metal riff with little conviction for the vast majority of its length: a wee bit too ahead of its time to be generic, yet unenthusiastic nonetheless. Predictable and straightforward, no surprises to be found here, except that Burke Shelley’s voice seems to have lost all its strangeness. His wailing is on key, but his voice has taken on a generic dimension, not so unlike Kevin Dubrow or those less-than-commendable lads from Night Ranger or 38 Special. “High School Girls” is almost equally inoffensive, Thomas' lead attempts falling on deaf ears amidst the cheesy lyrics and uninspired riffage. In a bizarre twist of fate, it seems this resolute attempt to be more ‘heavy metal’ was actually far less effective than the ballad-infused raw sludgery that they were so effortlessly crafting less than ten years before.

“Panzer Division Destroyed” is saltier and less likely to be confused with the arena rock of the era. Stomping, marching, almost galloping ahead, it’s a more engaging piece and more in line with what one might expect from 80’s heavy metal. “Lies of Jim (The E-Type Lover)” closes out with another no-nonsense rocker, no-nonsense except for the lyrics of course, which keep in touch with at least one Budgie tradition in that most people (myself included) haven’t the slightest idea what the hell Burke is rambling about. It’s catchy though, if not particularly impressive.

It’s a strange feeling for me to be ragging on this band, as they’ve delivered much joy to my ears on albums prior. But the name Budgie implies a group which are capable of much more than the lackluster sampling presented on this brief EP.

Budgie - 1978 - Impeckable


01. Melt The Ice Away (3:33)
02. Love For You And Me (4:04)
03. All At Sea (4:21)
04. Dish It Up (4:21)
05. Pyramids (4:22)
06. Smile Boy Smile (4:31)
07. I'm A Faker Too (4:48)
08. Don't Go Away (4:56)
09. Don't Dilute The Water (6:12)

10. Smile Boy Smile (Single Edit) 3:35
11. Don't Dilute The Water (2008 Version) 4:20
12. All At Sea (2008 Version) 3:53

- Burke Shelley / bass, vocals
- Tony Bourge / guitar
- Steve Williams / drums, percussion, vocals

 In 1978 Budgie released another welcome album called ' Impeckable'. This album had some improvements in the production side of it, comparing say to Badolier in 1975 making for more quality in the overall sound. ' Melt The Ice The Way' kicks the album off, a pleasant enough middle of the road track, the usual tight and flawless arrangements. ' Love For You And me' has some great guitar work from Tony Bourge, Steve Williams providing excellent drumming too throughout Impeckable. This song though is definitely one of the highlights with some great echo on the vocals. ' All At Sea' is another strong slow jam but the follow on ' Dish It Up' is best described as rather weak and instantly forgettable. Some good old rock and roll is displayed on ' Smile Boy Smile'. The comparisons continue with late 70's/early 80's Wishbone Ash output. Another cleverly titled song ' Don't Dilute The Water' closes Impeckable with some great rock and Shelley back to his vocal highs but before that another mostly slow gem titled ' Don't Go Away'. This for the reviewer is a stronger album than Bandolier from 1975 and in summary a refreshing release for 1978.A good album for your collection.

Budgie - 1976 - If I Were Brittania I'd Waive The Rules

If I Were Brittania I'd Waive The Rules

01. Anne Neggen (4:04)
02. If I Were Brittania I'd Waive the Rules (5:50)
03. You're Opening Doors (4:14)
04. Quacktor and Bureaucats (3:52)
05. Sky High Percentage (5:52)
06. Heaven Knows Our Name (3:52)
07. Black Velvet Stallion (8:08)

08. You're Opening Doors (2006 Version)
09. Black Velvet Stallion (2006 Version)

- Burke Shelley / vocals, bass
- Tony Bourge / guitar
- Steve Williams / drums
+ Richard Dunn / keyboards

If you were a Budgie fan in the 70's or in the 80's you would find yourself in two different camps. The band changed over the years, not so much as evolved - ever applying themselves to the target market of the band they were currently emulating. The "classic" period would see them in slavish imitation of BLACK SABBATH, the eighties - a kind of generic pop-metal and a reduction in identity. Where they became what they truly were: An accomplished, hook-happy, British rock band was on this album: "If I Were Britannia, I'd Waive the Rules". If a true evolution can be creditted to the band it is here in the full eclectic enjoyment of songs that parade hard riffs, jazzy swing, bright melodies, and a new economy of structure. The playing is tight, and the singing effective even at larynx shredding height as on the title cut (Burke's got a very satisfying "fur" in the upper range). What's missing is the protracted guitar solos of the previous "classic" period - and to my ears that's no great loss. Bourge was a diabolical composer of riffs, as a soloist he was undistinguished - a kind of lower-rent Iommi.
I like the run of the entire album. Well programmed enough to invite repeated listenings. The epic closer "Black Velvet Stallion" is however less effective, the riff needing more detailed development over the course of the song and not right at the end. The rock offerings are all pretty solid with varying guitar tones and good dynamic changes in the vocal. The sometimes derided ballad - "Opening Doors" is a particular delight beniffiting from a fine melody and vocal despite the dated TRAFFIC sounding 70's synth solo.

A solid effort that finally marked Budgie as a band with enough originality to be taken seriously before slipping back into flavour-of-the-month.

Budgie - 1975 - Bandolier


01. Breaking All the House Rules (7:23)
02. Slipaway (4:02)
03. Who Do You Want for Your Love? (6:09)
04. I Can't See My Feelings (5:54)
05. I Ain't No Mountain (3:36)
06. Napoleon Bona Part 1 & 2 (7:15)

07. Honey
08. Breaking All The House Rules (Live)
09. Napoleon Bona-Part One & Two (Live)
10. Who Do You Want For Love (Live)

Bonus tracks:
(7) Honey: First released as the B-side of "I Ain't No Mountain" single (MCA 175).
(8) Breaking All the House Rules: Recorded live at Chatham Town Hall in 1980. John Thomas on guitar in stead of Tony Bourge.
(9) Napoleon Bona-Parts One and Two: Recorded live at Chatham Town Hall in 1980 (same concert as previous track). John Thomas on guitar in stead of Tony Bourge.
(10) Who Do You Want For Love: Recorded live for the BBCTV's "The Old grey Whistle Test" in 1975.
(video) Who Do You Want For Love: Recorded live for the BBCTV's "The Old grey Whistle Test" in 1975 (same as previous track).

- Tony Bourge / Guitar, Vocals
- Burke Shelley / Bass, Guitar (Bass), Vocals
- Steve "Syco Steve" Williams / Drums

An under-rated influential band. How can you not like Budgie headed humanoids riding on horses in space suits on the cover!
For those not familiar with Budgie, the main guys are Burke Shelley on bass and Tony Bourge on guitars with various drummers. They are sometimes credited (along with Sabbath and others) as being at the beginnings or influenced the Metal genre. To me I always thought of them as hard rock (out dated term I guess) and blues with elements of prog along with bits of funk thrown in. They are also compared to Rush quite a bit as they are a heavy power trio with the bass player doing the vocals with a higher pitched range. However, Budgie came along before Rush did.

Now for their fifth studio album, Bandolier.

The first track, Breaking All the House Rules, is a straight forward hard, semi-blues type rocker with a few twists and turns along the way. It sounds like they were having fun with this one.

Next up Slipaway, a ballad that has become somewhat of a staple in Budgie albums and they are always well done with intriguing melodies. Burke's vocals have a nice way of weaving in and out of the song.

Who Do Want for Your Love is next. This song has a rather catchy, slow funky start which transitions into a heavier beat. There is some good guitar work in this along the way. I like this one.

I Can't See My Feelings is another hard rock song with some blues/funk tendencies. Burke and Bourge have a good chemistry of writing where the songs at times can sound or morph into two songs in one. This is evident in most of their albums.

I Ain't No Mountain is song that sounds like something T-Rex could have done, another hard rock blues/funk blend. Still fun to listen to.

Now the prize of the album, Napoleon Bona Part 1 and 2. Budgie also shows humor in most of their albums with some of the song titles and lyrics. This starts off slow and dreamy then turns heavy with some killer riffs. It is not hard to see where Budgie influenced some later bands like Metallica and Judas Priest. The song takes some nice twists along the way. The favorite of the album! Worth the price of admission.

I picked this album to review as it was my only exposure to Budgie back in the 70's (in 8-track no less). I have recently rediscovered them through a co-worker/friend who has a massive album and CD collection. He has them all and with the exception of one or two albums, I like every one of them including their 2006 album, You're All Living in Cuckoo Land (only Shelley from the original line up).

Budgie - 1974 - In For The Kill!

In For The Kill!

01. In for the Kill 6:32
02. Crash Course in Brain Surgery 2:39
03. Wondering What Everyone Knows 2:56
04. Zoom Club 9:56
05. Hammer and Tongs 6:58
06. Running from My Soul 3:39
07. Living on Your Own 8:54

09. In For The Kill (2003 Version)
10. Crah Course In Brain Surgery (2003 Version)
11. Zoom Club (2003 Version)

Pete Boot Drums
Tony Bourge Guitar, Vocals
Burke Shelley Bass, Guitar (Bass), Vocals

Budgie have a special place in the heart for many fans of heavy rock in the seventies but they never really reached the heights of many of their contemporaries at the time. Like Led Zeppelin, Budgie knew the importance of having light and shade in their music; lighter, sometimes acoustic moments to complement the bombast on heavier riffs making the music much more dynamic. While their music did contain quite a few twists and turns at times, in the main the heavier moments were built around solid repetitive riffs.
In For The Kill was the fourth album from the band and whilst not being their best it does contain some fine moments. None more so than the opening and title track itself which has a heavy and insistent unison bass and guitar riff so favoured by myriads of metal bands to come. The track rocks along with a steady groove with Burke Shelley's high pitched vocals over the top, changing tack to a slower pace for a mid section including a fine bluesy Tony Bourge guitar solo.

Crash Course in Brain Surgery in no doubt well known to most Metallica fans, being covered by them on their $5.98 EP back in the eighties. In truth it's a fairly dispensable and mundane heavy rocker with little to get excited about. Wondering What Everyone Knows is the band in acoustic mode, pleasant enough but fairly average nevertheless.

Much better is Zoom Club, at almost 10 minutes a bit of a mini epic. It has a great riff and generally features some fine guitar work from the underrated Bourge where he's really let off the leash and includes a strong and lengthy solo.

While nothing on side 2 of the original vinyl album can match up to In For The Kill and Zoom Club it's still pretty good. Hammer and Tongs is built around a bluesy Black Sabbath style riff. Running From My Soul is a short and simple boogie based song. Living On Your Own is another longer track and a fine album closer. Heavy riffs alongside gently picked guitars, Shelley turns in a fine vocal performance and Bourge is given free reign to solo at will including some slide guitar.

So all in all, a good competent slice of seventies heavy rock. If you're new to the band though I'd recommend starting with their classic Never Turn Your Back On A Friend album.

Budgie - 1973 - Never Turn Your Back On A Friend

Never Turn Your Back On A Friend

01. Breadfan (6:10)
02. Baby Please Don't Go (5:30)
03. You Know I'll Always Love You (2:15)
04. You're the Biggest Thing Since Powdered Milk (8:50)
05. In the Grip of a Tyrefitter's Hand (6:29)
06. Riding My Nightmare (2:42)
07. Parents (10:25)

08. Breadfan (2003 Version)
09. Parents (2004 Acoustic Version)
10. Breadfan (Live 1973)

- Tony Bourge / Acoustic Guitar, Lead Guitar, Vocals
- Ray Phillips / Drums
- Burke Shelley / Bass Guitar, Vocals

Ooh, I've forgotten how good this album is. I haven't listened to this one for years, definately on par with their previous album 'Squawk'. 'Never Turn Your Back On A Friend' appears to be the 'pick of the bunch', concerning Budgie. An amazingly vibrant Roger Dean artwork graces the gatefold cover, undoubtedly further endearing it to many Prog-Heads. Not a jot of keyboards on this one though (perhaps the Mellotron on 'Squawk' keeps on luring me back to that one ?). Greeted with the peal of a bell, 'Breadfan' launches with Tony Bourge's juicy guitar riff with a sound so thick you could cut it with a knife. Burke Shelley is no slouch on the Bass either, chords a-plenty and a great sound. Drummer Ray Phillips is as heavy as ever, providing the required amount of muscle to keep things alive and flowing. Yeah, sure Shelley's voice tends to be rather thin, something like what Geddy Lee may have sounded like when he was 15 (!), but of course, he sings from the heart and it suits the music. Throughout this song, the guys churn out one great riff after another until the middle section slows things down with a mellow, acoustic interlude for a minute or two, then returns to the opening riff. The song pretty much sums up Budgie, and stands up proud against, say, Sabbath Bloody Sabbath. The old rocker 'Baby Please Don't Go' is a straight-up, well, rocker, with a driving rhythm that keeps things on the boil whilst Bourge solo's with aplomb. 'You Know I'll Always Love You' is a tranquil piece of melodic acoustic guitar and vocals lasting just over 2 mins. For the introduction to 'You're The Biggest Thing Since Powdered Milk', Ray Phillips steals the show with a Drum solo, full of super-sonic phasing effects, and what he comes up with on his somewhat small drumkit (something like a basic 5-piece with 2 bass- drums) is commendable. A crunching riff then enters for the 1st vocal section where the Bass Guitar is nicely upfront, giving way to a solo Bass riff (which I'm sure Steve Harris pinned for Phantom Of The Opera.....) and then the last section features a chunky riff with vocals from Bourge. Flipside we have 'In The Grip Of The Tyre Fitter's Hand' (where do they get these titles from ??) which is built around a basic structure but still choc-full of killer riffs and great playing all 'round as always. Another quaint little acoustic/vocal piece with 'Riding My Nightmare', further showing off their tendency to present lighter and accessible melodies and gives the listener some breathing space between the weightier moments. The album closes with the 10 min+ 'Parents', a grand piece of music which alternates between dramatic riffs, and laid-back simplicity. Here, Bourge gets to perform some beautiful solos, of which the first includes an inkling of Jazz, it's just superb. The main progression is 'jazzy' and very tastefully composed. The guitar effects simulating Gulls crying adds a wonderful atmosphere later in the song.

Budgie - 1972 - Squawk


01. Whiskey River 3:27
02. Rocking Man 5:25
03. Rolling Home Again 1:47
04. Make Me Happy 2:37
05. Hot as a Docker's Armpit 5:53
06. Drugstore Woman 3:14
07. Bottled 1:57
08. Young Is a World 8:14
09. Stranded 6:17

10. Whiskey River (A Side Single Version)
11. Stranded (Alternate Mix)
12. Whiskey River (2003 Version)
13. Rolling Home Again (2004 Version)

- Tony Bourge / Acoustic Guitar, Lead Guitar, Vocals
- Ray Phillips / Drums
- Burke Shelley / Bass Guitar, Mellotron, Vocals

The second longplayer from the Welsh vintage heavy trio shows their power most best along with their third album. THere are some really ace smashers on the album like opener "Whiskey River" and "Hot as A Docker's Armpit", proving that their lyrics are silly but that bluesy distorted amplified acoustic guitar and double bass drum treatments give a good ride if your open to their sound and style. From these tracks search for the John Peel session versions, if you are not allergic to lofi sounds. The album has in the style of other early records of this band few shorter acoustic ballads, "Make Me Happy" being quite pleasant open to the following groovy heavy rock tune. "Rocking Man" and "Drugstore Woman" are quite decent rockers, but not as interesting as the other tracks. The favourite track here for me in adition of the heavier tracks is the long and romantic "Young is A World". The only flaw here is the quite poor lyrics, which sound that they could have been improvised during the performing. Anyway, the composition is pretty melodic minor piece with good structures, room for free playing. The album closer is also a nice menacing heavy rock piece, and the here and there played mellotrons do not make the record any worst. If you like the bluesy groove sligthly similar than in the first album of Black Sabbath, or the hard smashing of very early Rush records, check this one out.

Budgie - 1971 - Budgie


01. Guts 4:20
02. Everthing in My Heart 0:52
03. The Author 6:28
04. Nude Disintegrating Parachutist Woman 8:41
05. Rape of the Locks 6:12
06. All Night Petrol 5:57
07. You and I 1:41
08. Homicidal Suicidal 6:41

09. Crash Course In Brain Surgery (Alternate Mix) 2:36
10. Nude Disintegrating Parachutist Woman (Single Edit) 4:08
11. Nude Disintegrating Parachutist Woman (2003 Version) 3:45
12. Guts (2003 Version) 3:53

- Tony Bourge / Guitar, Vocals
- Ray Phillips / Percussion, Drums
- Burke Shelley / Bass, Guitar (Bass), Vocals, Mellotron

While Welsh heavy rock band Budgie were formed in 1967 (under the name Hills Contemporary Grass), it took until 1971 for the band to release their first album. The line up indicates that the trio add mellotron to their basic guitar/bass/drums set up, but do not be fooled by this; this is an album of guitar driven rock. Produced by Rodger Bain there is a distinct relationship with the sound with Black Sabbath, who he also produced. Other bands who have clearly influenced or been influenced by Budgie are the likes of Led Zeppelin and Rush. In the case of the latter, the vocals of Burke Shelley bear a passing resemblance with those of Geddy Lee.

"Budgie" was recorded on 8 track tape in only four days, and while some overdubbing was subsequently added, this is essentially a live in the studio affair. The sleeve notes advise us that the band are "not particularly subtle", and that "They're not progressive (whatever you understand that to mean)", but the track arrangements can belie such statements.

The album is essentially a succession of blues rock numbers with the occasional softer counterpoint. The opening "Guts" is a heavy riff infested song which sets the scene well for both this and future albums. We are though caught off guard by the delicate acoustic "Everything in my heart" which follows, even if it does run for just a minute. The mood appears to continue on "The author", but the initial reflective nature of the track is soon replaced by a more orthodox heavy rock number.

It is though "Nude disintegrating parachutist woman" (what a wonderful title, it does actually feature in the lyrics!) which offers the first taste of the real Budgie. This superb 8½ minute romp takes us through an altogether more adventurous arrangement. The lead guitar here is the highlight of the track, but the driving nature of the song combined with a genuine raw excitement, make for a compelling piece of early metal.

"Rape of the locks" is the first of three 6 minute pieces which make up side 2, the song featuring another interesting arrangement of what is essentially a basic blues rock number. "All night petrol" slows things down slightly, sounding a bit like Led Zeppelin's "Lemon song" at times. The track features another fine lead guitar break, this time with some upfront complementary bass.

"You and I" is another brief acoustic number which sounds distinctly like a John Lennon demo. The album closes with "Homicidal suicidal", another Sabbs like riff infested blues rock piece.

Budgie's relationship with prog comes not from their raw guitar based sound, but from the relative complexity of the arrangements of songs such as "Nude disintegrating parachutist woman". This, combined with their willingness to occasionally reveal their softer side, offers an appealing diversity to what would otherwise be a straightforward guitar rock album. No one for the prog purists by any means, but those interested in discovering the roots of prog metal and those looking for some good old fashioned lead guitar magic should find much to enjoy here. Great sleeve too!

Brownsville - 1980 - Air Special

Air Special

01. Taste Of Your Love 2:54
02. Waitin' For The Weekend 2:52
03. Who Do You Love 3:07
04. Tears Of A Fool 2:56
05. Cooda Crawlin' 4:05
06. Air Mail Special 0:23
07. Never Say Die 3:54
08. Fever 4:25
09. Love Stealer 3:27
10. Let It Roll 3:14
11. Down The Road Apiece 2:30

Bass, Guitar, Vocals – Michael Lutz
Drums, Percussion, Vocals – Henry "H-Bomb" Weck*
Guitar, Guitar Synthesizer, Bass, Vocals – Bruce "Beezer" Nazarian*
Guitar, Harmonica, Vocals – Cub Koda

Brownsville (Station) went out fighting. Issued by Epic Records in 1978, under the shortened moniker, Air Special, the final '70s studio LP from animated Cub Koda, Henry "H-Bomb" Weck, Michael Lutz and "Beezer" Nazarian packs a punch. Laid down at Brownsville Subterranean Studios in Ann Arbor, under the production watch of Tom Werman, the bispectacle rustbelt rockers proved that there was more to their resume than "Smokin' in the Boys Room" with the eleven song Air Special.

Leanin' in with a Motor City shot of three chord hot rock from the off, "Taste of Your Love" pulls from old school Alice Cooper, while the party-on "Waitin' for the Weekend", as well as the keep-your-chin-up "Never Say Die" bring to mind BTO's truck stop wrench rawk. "Tears of a Fool" is carried by a shuffle groove, and the quartet gets down on the dirty blooze cruise of "Cooda Crawlin", which features the Cubster on harmonica.

A no-holds-barred, three-minute cover of "Who Do You Love" augments Air Special, and the cold-sweat "Fever" is blowin' out with a hit of Southern fried rock. "Let It Roll" is a an all-night-long blooze stomper that gives way to the short, but hyper boogie of "Down the Road Apiece".

Ahhhhh, the '70s! Ya shoulda been along for the wild ride...

Brownsville Station - 1977 - Brownsville Station

Brownsville Station
Brownsville Station

01 Hot Spit 4:15
02 Sleazy Louise 3:19
03 Lady (Put The Light On Me) 3:24
04 Lover 4:00
05 Mr. Johnson Sez 4:55
06 (Throw Me A) Lifeline 3:50
07 Rockers' N' Rollers 3:05
08 My Friend Jack 3:20
09 Ain't That A Shame 2:42
10 The Martian Boogie 7:00

Bass, Guitar, Vocals – Michael Lutz
Drums, Percussion, Vocals – Henry "H-Bomb" Weck*
Guitar, Bass, Keyboards, Vocals – Bruce "Beezer" Nazarian*
Guitar, Harmonica, Vocals – Cub Koda

Way back in 1977, die-hard Aerosmith fans waited and waited for the follow-up to the raging Rocks album to finally drop. We filled the down-time crankin' the latest releases from other American rockers, such as ol' Uncle Ted (Cat Scratch Fever), Starz (Violation), Derringer (Sweet Evil and Derringer Live), Cheap Trick (Cheap Trick and In Color), Lynyrd Skynyrd (Street Survivors), Ram Jam (Ram Jam) and the legendary Blue Öyster Cult (Spectres). In additon, the boys from Brownsville Station filled the Aero void when the group pushed out their self titled LP.

Issued in May of '77, the Brownsville Station album was promoted with the slogan "Comin' right at ya!". Billed as their most powerful album to date, the quartet of guitarist Michael "Cub" Koda, bassist Michael Lutz, primal drummer Henry "H-Bomb" Weck and newest member Bruce Nazarian, locked-in and banged-out a fun collection of cuts. The ten song album rolls from the off with the heated action of "Hot Spit", which is chased by the raunch of "Sleazy Louise", and lead single "Lady (Put the Light on Me)".

Brownsville Station lay on three-minutes of Motor City action with "Rockers 'n' Rollers", while trippin'-in with a shot of power pop via a short cover of "Ain't That a Shame". Produced by Eddie Kramer, Brownsville Station closes in a major way with the lengthy and comical "The Martian Boogie". For those that were around at the time of it's release, you can relate to the lyrical reference from "The Martian Boogie" that notes the old, all-night dives that simply went by the name of "EAT". spelled out in loud neon lights. That don't make 'em like "EAT" anymore... and bands like Brownsville Station are long gone as well.

Brownsville Station took to the road during the hot summer of '77 in support of their latest recording. Hitting the Midwest hard, the boys supported Aerosmith for a few shows in the rustbelt in early Autumn, despite the fact that the Boston bad boys were still pulling together tracks for the eventual release of Draw the Line.

I caught Brownsville Station and Aerosmith together on October 5th of 1977 at The Mecca (aka The Arena) in Milwaukee. Never ones to take themselves seriously, Brownsville Station chugged their way through a fun set, while Tyler's gang hit the backstage drug buffet in a major way, before blowing through an abbreviated set in order to party late into the night. The show is just another distant rock 'n' roll memory from the crazed daze and wild nights when a concert was less than ten bones, and you could get away with smokin' in the boys room.

Jon FOx