…I was going to call it the “Gleaming the Tubes” Edition, but figured no one would get the reference and it would sound more like I was the hippest plumber ever than just buying albums online. Don’t want to overdo it, you know.

I recently got a check for $90 for a column I write in New Jersey‘s longest-running alt weekly, The Aquarian. I get one every month for roughly the same amount, and true to form, I lost this one almost immediately. I’ve begged for a direct deposit and been roundly (and squarely) rejected. This — namely the fact that I didn’t actually have the money anymore — wasn’t going to stop me from spending it. I hit up Amazon and here’s a quick rundown of the subsequent wish list haul, the last of which just arrived in the mail today:

The Obsessed, The Church Within: I have no excuse for not already owning this album and I feel no small amount of shame for having only purchased it now. It was an oversight on my part and it’s been corrected. I’d prefer to just move on.

Church of Misery, The Second Coming: This one I have an excuse for not already owning. Two actually. First, it’s hard as fuck to find. Second, when you do find it, it’s similarly (and apparently copulatingly) expensive. Worth every penny for the frenetic, blasted-out doom that ensues though.

Dutch Oven, Electric Last Minute: I’m not even sure why I originally wanted this, but it was on my wish list for years and at this point it was a battle of will to see how long I could wait out buying it. It’s meh, but I know a long time ago when I put it on the list I must have wanted it very badly, so future me (which is now me) was basically just trusting past me’s instincts on this one. Turns out that guy’s kind of a jerk.

Trouble, Run to the Light: It’s the 1994 reissue of the 1987 album, but it’s also the last Trouble full-length I didn’t own, and I’m pretty sure I get a cookie for completing the catalog, so if you weigh it in terms of cookie/dollar value, Run to the Light just paid for itself. Suck a fat one, economy!

Pappo’s Blues, Volume 1: Early ’70s Argentinian psychedelic bluesy biker rock? Are you fucking kidding me? More please.

Color Humano, Color Humano: More Argentinian ’70s goodness. My only complaint with this is that it came in a sleeve, which is bullshit. I guess “limited edition import” means, “I’m a dick and I’m going to mail you my promo of this Sony reissue ha ha ha fuck you fuck you.” Always something lost in translation.

Beaver, Lodge: Because apparently every single time I order CDs from anywhere, ever, it has to include at least one item released on Man’s Ruin. This is cool though because it’s the promo, and because it’s not in a sleeve, I’m okay with that.

Snail, Snail: I know they just reissued it and it’s available for download through the band’s website, but I wanted the original deal and it was like four bucks, so I grabbed it and I’m not looking back. If you’ve never heard it and you’re not a complete asshole like me, buy it from the band and give them some small measure of support, since they’re good people.

If you’re going to kiss a record’s ass, a good reason to do so is the dude who made it was in Chicago doom legends Trouble, but much as I’ve tried, and tried, and tried to unconditionally accept Again, the self-released full-length debut from Jeff “Oly” Olson’s Retro Grave project, I just can’t do it. The album was originally download-only, and came out early in 2009, but was tweaked for physical issue and given its hard copy release in February. More or less since then (it might have been March), when I got the record, I’ve been avoiding reviewing it.

It’s not that Again is bad, but it is very disjointed. I get that Retro Grave is supposed to be an experimental project, but Olson as the chief songwriter, is still using the basic elements of heavy music that launched Trouble in the early ‘80s. It just feels like he has put them in the wrong order. The riff that drives “So So Souls,” for example, is killer, has that full-on swagger that made Trouble a metallic household name, but the surrounding elements aren’t cohesive, and after five minutes, when the track drops to organ, I can’t help but feel let down in a, “Hey, bring that back!” kind of way. Olson, who went to Berklee and clearly knows his shit, can only be doing it on purpose, and I don’t doubt that writing a song like “Monstah” (as opposed to “monster”) is a lot of fun, but that isn’t necessarily going to translate into the listening experience.

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I guess after you spend so long fronting one of America‘s greatest doom acts — namely Trouble — you get a certain amount of what our former president called “political capital,” to cash as you will. For Eric Wagner, that cashing comes in the form of his new band, Blackfinger, signing to Dark Star Records. Yeah, I know it ain’t exactly Universal Music, but we’re a long way removed from “Black Shapes of Doom,” and he’s apparently looking for something low key anyway, so I suppose you take what you can get.

Blabbermouth had the story, and it went like this:

Blackfinger, the new project featuring ex-Trouble vocalist Eric Wagner, has inked a deal with Dark Star Records. The band’s self-titled full-length debut is scheduled for release in the fall. A number of US and international appearances will follow.

Blackfinger is:
Eric Wagner – Vocals
Doug Hakes – Guitar
Rico Bianchi – Guitar
Ben Smith – Bass
Larry Piatz – Drums

Eric Wagner left Trouble in April 2008, citing his disdain for the touring life as the main reason for his departure.

Unless that Blue Cheer disc shows up in the mail tomorrow, I just received the final album I will have purchased this decade. It was Trouble, by Trouble. I bought it off Amazon used, but as close to mint as anything I’ve seen, spent $30 of an Xmas gift card and $18 of my hard-earned on top of that to get it. Worth every penny, virtual and otherwise.

The 1990 release is widely regarded as the apex of Trouble‘s career, and with tracks like “Psychotic Reaction,” “At the End of My Daze” and “Black Shapes of Doom,” it’s hard to argue. The classic lineup of vocalist Eric Wagner, guitarist Bruce Franklin and Rick Wartell, bassist Ron Holzner and drummer Barry Stern (RIP) captured a defining moment in doom which even 20 years later many bands still emulate without the same kind of effect on the listener.

Whatever they’ve done since — the lineup changes, naming their yet-to-be-released new album The Dark Riff, etc. — there’s no denying the presence of Trouble, and two decades on, the power of these tracks still speaks for itself. It is an acquisition most welcome, and a fitting end to 10 years of rampant expenditure without regard for credit rating, checking account balance or common sense.

Speaking of, anyone got a lead on a CD copy of the Saint Vitus live record on Hellhound? There’s a couple extra tracks they left off the Southern Lord reissue I’d like to get my hands on.

Even since before the release/non-release of Trouble?s would-have-been comeback album, Simple Mind Condition (it?s a non-release if you?re in the US, thanks to Escapi Music biting the proverbial big one), there?s been no small amount of teasing for the release of their unplugged EP. For a while there, it grew into one of those, ?Yeah, that?ll be out one of these days? phantom albums, until the legendary Chicago outfit finally made it available in limited numbers on their website, late 2007. The first 100 pre-sold were signed by the band.

Now seeing wider issue via Germany?s SAOL imprint, Unplugged boasts four bonus demos with the original six tracks, making it a full-length compilation-type release. Two of the original six songs are ?new,? and two of the bonus tracks were previously available on the Demos and Rarities Pt. 2 (1984-1994) collection, so there are four presumably yet-unheard cuts, two of which were on the prior Unplugged, four alternate versions and the two other bonuses, ?Waiting for the Sun? (not the Doors tune) and the Yardbirds cover, ?Heartful of Soul.?

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…I never get tired of Trouble puns. In case you, like me, spent this past weekend not in Germany at the Wacken Open Air fest, Blabbermouth saw fit to post the following shaky-ass video of the Kory Clarke-fronted version of Trouble rocking out. Figured I’d put it up in case anyone missed it there and wanted to check it out.

This one comes from Blabbermouth, and even if it is the Kory Clarke version of Trouble, a show with Candlemass is bound to be a doomy good time. They can poll the contemplative Swedish audience to see who has the goofier album title, Death Magic Doom or The Dark Riff.

Doom metal legends Candlemass and Trouble will join forces for a short Swedish tour in September. The dates are as follows:

Sep. 26 – Malm?, SWE @ KB
Sep. 27 – Gothenburg, SWE @ Tr?dg?rn
Sep. 28 – Stockholm, SWE @ Debaser Medis

Blabbermouth has the story. Trouble had this to say about the progress on their new album, The Dark Riff:

“Everything is moving along nicely in the writing stage. Bruce [Franklin] and Rick [Wartell] have brought some massive, killer riffs to the sessions that are sure to please ANY Trouble fan.

The sessions are proving to be a very creative environment, and are spawning the band’s creative juices where every last riff seems to get heavier than the last.

As of this date the music for 14 songs is complete. The vocals are coming in a bit at a time and sounding incredible.

The band seems to be clicking on all cylinders now, and there’s no end in sight.

This is definitely going to be worth the wait!”

According to the Blabbermouth rumor mill, there’s a good chance Chicago‘s damnedest, Trouble, are entertaining the thought of calling their new album — the first with new singer Kory Clarke — The Dark Riff.

What is it with godly doom bands and awful album names in 2009? I love Candlemass more than a lot of people, but Death Magic Doom? Come on, guys. You’re not making it easy. The Dark Riff? Might as well have called it The Brown Note.

Now that I think about it, The Brown Note is kind of a kickass album name.

Trouble are basically classic rock at this point, and The Dark Riff smacks a little too much of Black Sabbath trying to hock “Psycho Man” as a celebration of their hipness when they reunited with Ozzy a decade ago. A kind of, “See how modern we are?” They should be honest and go with, Yeah We Know Eric’s Not in the Band Anymore, but the Guitars Still Rule. The Candlemass thing I chalk up to an ESL issue, despite first-hand knowledge that Leif Edling speaks better English than I do. They get a pass.

But seriously, if Cathedral decides to call their new record Doom and a Turkey Sandwich to Go, I’m going to [insert empty threat here, because what I'm actually going to do is nerd out to all three of these records, and Heaven and Hell's The Devil You Know while we're at it].

To hear some tell it, former and once-again Warrior Soul frontman Kory Clarke has a cult around him that swears by his every word. If it exists, I?ve never been part of it. When I heard singer Eric Wagner was splitting from original Chicago doomers Trouble to pursue less-Troubly musical ventures and that Clarke was taking over, I reacted the same way as I think a lot of fans did: “Huh? Really?”

A respectfully self-released venture available exclusively through the band?s webstore, Live in L.A. captures a set from June of last year, and Clarke, who until recently could be found mic-swinging for Long Island beer rockers Dirty Rig, presents a raspy, whiskey-drowned delivery that no matter the conditions he?s performing under comes off as though he?s been on a bender for the 72 hours prior. It?s not that he can?t hit Wagner?s notes (that he can even attempt and not immediately sound ridiculous says something about his talent), but personality-wise and in terms of the sheer sound of his voice, it?s an odd fit to say the least. After seeing them on tour last fall, checking out the live record was a necessity, if only because it?s the first recorded outing with Clarke up front and as of press time he?ll be singing on the next studio album. Good to know what you?re getting into.

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