Lost/Forgotten Album #1(9)83

[Jon]

From 1983 comes the third album from Manilla Road, "Crystal Logic".

From allmusic.com comes this:

"Wichita, KS-based Manilla Road is one of America's -- make that the world's -- great cult heavy metal bands. Geographically isolated, fiercely independent, and highly original, the group has rarely toured and never seen a single album released by a major record company, but has nevertheless managed to endure in one form of another for over two decades.

Vocalist and guitarist Mark Shelton was involved in a number of amateur bands during the 1970s, playing jazz and country before winding up in a rock band called Embryo, and later founding Manilla Road in 1979 with bassist Scott Parks and drummer Rick Fisher. Unwilling to wait for record labels to come discover them all the way out in Wichita, the resourceful trio recorded its first album, Invasion, later that year, then released it through the band's own Roadster Records for good measure. Another album, tentatively entitled The Dreams of Eschaton, was finished and shelved because the bandmembers weren't happy with the results, but they gave it another try and duly came up with 1982's simply titled Metal LP.

Despite such indicative titles, however, Manilla Road's first efforts actually delved into everything from progressive to space and straightforward hard rock, and it wasn't until 1983's watershed Crystal Logic that their metallic inclinations truly took over. Fusing a few lingering hard rock tricks and a penchant for epic and fantasy lyrics with the recent aesthetic innovations of the New Wave of British Heavy Metal, Crystal Logic boasted improved sound quality, introduced Manilla Road to a wider heavy metal fan base (especially beyond America's borders), and signaled the beginning of their golden age. This would be marked by truly triumphant subsequent efforts like Open the Gates (1985), The Deluge (1986), and, to a lesser degree, Mystification (1987) -- all of which were released by French independent Black Dragon Records and featured the more aggressive, inventive, and thrash-attuned drumming of new arrival Randy Foxe."

How about the album review from allmusic.com:

"After experimenting with all manner of hard, progressive and space rock sounds on their first two albums, Wichita, KS Manilla Road would finally embrace heavy metal wholeheartedly -- and start defining the epic formula that would become their trademark -- with their third, 1983's Crystal Logic. But that's not to say they got boring with their songwriting. Anything but, as selections varied from brisk, economical singles like "Feeling Free Again" and "The Ram," to more elaborate offerings in the title track and album standout "The Veils of Negative Existence," to the full-blown, 12-minute epic metal adventure of "Dreams of Eschaton/Epilogue." The latter, in particular, revealed an evident debt to New Wave of British Heavy Metal bands like Iron Maiden and Angel Witch (in fact copping a riff from their classic "Angel of Death"), and therefore, won't sound unfamiliar to fans of Manilla Road contemporaries such as Armored Saint or Queensrÿche -- all of which had indeed drunk from the same wellspring. But what set Manilla Road apart from these bands was a hard to define, explorative innocence that only their geographical isolation could possibly explain. One of these quirks, leader Mark Shelton's warbling, somewhat nasal vocal style might not sound brittle enough to get over with some extreme metal fans; but his slashing guitar playing is simply beyond reproach, boasting an inventiveness and electrifying attack worthy of the era's best major market heavy metal guitar heroes. Ironically, Shelton's singular talents probably found their best showcase in non-album single "Flaming Metal System," which was originally featured on Shrapnel Records' U.S. Metal, Vol. 3 sampler, but was later added to most CD reissues of Crystal Logic. And it was this final and belated ingredient that helped transform the album into an all around tour de force, which remains one of Manilla Road's finest albums."

Really nothing more to say. Just transport yourself back to '83 and imagine listening to this back then. This surely would have got your blood pumping. Should still, unless you're too damn old. 

This production sounds loike something from the early 80's as does the album cover. Great geetar work throughout as well. If anything, you gotta like "Feeling Free Again", it sounds like a biker tune. 

You also gotta love the band photo from this album:

NOW I have nothing more to say.

Crystal Logic

1. Prologue
2. Necropolis
3. Crystal Logic
4. Feeling Free Again
5. The Riddle Master
6. The Ram
7. The Veils of Negative Existence
8. Dreams of Eschaton/Epilogue
9. Flaming Metal Systems

Availability: Around $12.

 

[Scott]

Geographically isolated in Wichita KS?  Ya think?

I think this post personifies "Lost Album".  If I wanted to be lost and never found, Wichita is perfect!!!  So then how did you find it?

Kind of sounds like these guys wrote this during a marathon session of Dungeons and Dragons.  I get the feeling this was recorded in someone's parents basement, Waynes World style... Kind of like this...

Singer Dude:  Allright, Crystal Logic in 3...2...1...

two  minutes later a voice from upstairs yells...  "Would ya turn that crap down?!!!!"

Singer Dude:  Hey Drummer dude, ya gotta go tell your mom were recording or we'll never get this done

Drummer Dude:  You tell her, she doesn't listen to me

Singer Dude:  Dude, you'll be 30 next month stand up to your mother!  Our careers are on the line!!!

And now we know why these guys never got out of Wichita!  Drummer dude never stood up to his mother.  And judging from the band photo, he's probably still living in the basement with his purple light, velvet posters, and dragon statues.  His latest facebook status reads, " anybody know where I can order a new stylus for my turntable? got to be less than 20 bucks, my allowance hasn't been raised in 25 years!!"

Did I ask how you found this album yet?

Dreams of Eschaton/Epilogue must have been recorded when Mom was at the grocery store, 12 minutes of pure nerdery!! Or should I say 10 minutes followed by 90 seconds of some weird rumbling and then an attempt to make some other noises...  I bet the neighbors were pissed!

Last track has that geetar sounds that Bill and Ted make.  And the abrupt stops are, well, bad patch work on the reel to reel?

This is what I see of them now...  Destiny!!!  How can you kill that which cannot die!  Manilla Road FOREVER!!

 

[Jon]

Damn! I'm taking this as you didn't like this much?

I dunno how, I just find stuff. I kinda dig it, I like the 80's raw vibe of it. Plus there's bands out now that sound like this.

I played D&D ONCE. Figured it was too silly, even for me. Tried Car Wars too, thought it was neat that you could build cars with weapons, but then found out it took to damn long to really do any killing.

Now, that's what I look like while on the web. However, you will NEVER EVER see CD's sitting around like that. Plus you need to substitute that can of power drink to Pepsi Max and it would be perfect. Well, I don't wear something on my wrist either. And I'm not bald.

Guess it's NOT me. My dream has faded.

[Scott]

In reality...  this was a pretty cool listening experience, in a flashback kinda way.  We had a couple local bands that tried to record and release and if memory serves me correct (and it usually does) - the sound was very similar.  A bunch of local dudes trying to be heavy and rockin!

In the club scene it worked pretty cool, on cassette (the media of choice at the time) not so much!

So cool post IMO, and valuable to keeping the memory of the local classic rock scene alive!

[Jon]

The effects of fidelity with "air guitar" in Bill and Ted's Excellent Adventure

Written by Michael Black

Bill and Ted's Excellent Adventure is a story of two seniors in high school that are in danger of not passing their 12th grade history class, which would in turn lead to the demise of their band the Wyld Stallyns. Bill S. Preston Esquire and Ted Theodore Logan are dubbed "the great ones" by our futuristic narrator Rufus. Although they are musical amateurs at the time, the audience is let in that the Wyld Stallyns, if kept intact, will be the future of today's world and lead to harmony between music and life. Rufus goes back in time to help Bill and Ted pass history and keep Wyld Stallyns intact. Equipped with a time-traveling phone booth, Rufus gives Bill and Ted the means to bring back significant historical figures in order to pass their final presentation.

Bill and Ted live music; they philosophize by coping quotes such as "we're all just dust in the wind" and look up to the likes of Eddie Van Halen. Like many aspiring guitarists, the "air guitar" is a significant part of their musical arsenal that allows them to believe they can play just about anything while not actually even holding an instrument. Of course, anyone can play "air guitar" with little to no practice, it is an ability that is common place amongst most humans; however, in Bill and Ted's Excellent Adventure the "air guitar" takes on a significant role in both symbolism and storytelling.

The first occurrence of "air guitar" is near the beginning of the movie and serves as a way for the audience to become accustomed to its significance. After a brief argument about the future of their band, Bill and Ted reach an agreement and simultaneously pull back and give a few strums to the "air guitar". While doing this, there is an obvious and humorous use of fidelity. We all know that "air guitars" are unable to produce music, yet when Bill and Ted do this, the audience hears the sound of a real screaming electric guitar, as if it came from the "air guitar". The audience receives a sound that they are not expecting, and it processes as a pleasing use of fidelity.

Although the significance of this effect is still in its infancy, it is presented to the audience as a humorous way to end the scene.

The "air guitar" gradually builds itself into an underlying theme of the entire movie. The continuation of the fidelity (ie. Electric sounds coming from an "air guitar") helps add humor and punch lines when needed; however, the effect begins to serve more of a purpose than this. When Bill and Ted strum their non-existent instruments, no one other than they and the audience can hear it. In a scene where they are surrounded by a group of people, they play a loud "air guitar" that goes completely unnoticed by the rest of the group. This helps show the great friendship between the two, as if they have a connection that no one else has. Everyone looks at them if they were idiots, but they know each other so well that they can actually hear each other play. In other words, the audience is given a gauge for the friendship of Bill and Ted. While my best friend and I are close, we certainly can't hear each other play "air guitar", thus Bill and Ted are given a strong bond that most don't posses.

The next significant occurrence of "air guitar" happens when Ted's dad is threatening to send him off to boarding school, which would in turn lead to the end of the Wyld Stallyns. While Bill fixes the situation with a prank phone call, through a window Ted tries to signal to Bill. It ends up that they are able to communicate with each other by using their "air guitars". Because they are able to hear each other play, it serves as a great means of communication for them and adds another angle to the complexity of their friendship. Before now, the fidelity of the "air guitar" was something that Bill and Ted had mostly for humor and effect rather than use. Now that they are able to use it to their advantage, the audience realizes that they not only have a unique friendship, but they have a special gift that allows them to communicate with each other, music.

There is one scene in particular that helps highlight the bond that Bill and Ted have, and makes the audience fully aware of the special nature of their gift. In their travel through time, they stop into a sleek room sometime in the future. We are not told exactly who the people in the room our, but by their costumes and demeanor, we can gather that they are quite important. When Bill and Ted get out of the phone booth (ie. Time-travel machine), the people begin to actively strum on "air guitars". Bill and Ted don't know what to think and can only reciprocate by doing the same motion. The group is worshipping Bill and Ted without them actually knowing it. Their "air guitars" are trying to emulate that of "the great ones". As to be expected, these people can extract no sound from their mock-instruments, and thus our suspicions are confirmed that Bill and Ted are truly special. If these admirers had been graced with the same fidelity of music and instrument as Bill and Ted, the meaning would be lost. As it stands, this scene helps us believe that Bill and Ted are "the great ones"

While all of these scenes are similar in effect, there is one scene in particular that is noticeably different from the others. This is when Bill and Ted meet up with Bill and Ted in the future; they actually travel in time to convince themselves to go on their excellent adventure. In this scene they again play the "air guitar", but this time are forced to vocally express the music rather than having the soundtrack play it. This is a sudden departure from the rest of the "air guitar" scenes and likely deals with the significance of Bill and Ted coming in contact with themselves. It could be interpreted that the only way for the future Bill to communicate with Bill and for the future Ted to communicate with Ted through "air guitar" would be by vocally expressing the notes. Regardless, their "air guitar" antics help reinforce the tightness of their friendship and provides a refreshing alternative to the fidelity that the viewer is expecting.

In the end, it is the un-human "air guitar" attribute that separates Bill and Ted from the rest of the world. For the audience to believe that they are truly "the great ones", the director had to do something that set them apart. By the use of fidelity, and lack there of, with the "air guitar", Bill and Ted are given qualities that others can only admire. Their uncanny ability with the "air guitar" helps highlight the movie's attitude, shows the special friendship of Bill and Ted, and allows us to believe that they might become "the great ones" of the music world as predicted.

from knowledgebed.com

[Scott]

Dude, I could totally kick Bill and Teds ass in an air-guitar duel!  Just Sayin'!!!

[RJhog (Admin)]

Jon, you were doing so well this year. Then this.  Honestly, the only redeeming quality I can find here is the guitar playing.  The vocals are not good.  The production is not good.  The songs are not good.  This is just not good.  As Scott would say, this needs to stay lost and/or forgotten.

This seems to me like what Judas Priest would sound like (which very well be way off base), and that is exactly the reason I have never given them a chance.