RECORD STORE TALES MkII:
Getting More Tale
Music, Movies, and more
MARILLION – Christmas 2000 – A Piss-Up in a Brewery (2000 fan club CD)
MARILLION – A Piss-Up in a Brewery (19 track download version released 2010)
Being a member has its advantages, and when joining the official Marillion fan club entails a free exclusive CD, you can always count on me to be on board. Marillion’s third, A Piss-Up in a Brewery, was my first. The original 12 track Racket Records printing (WebFree 03) is a treasure. It was made available again to members of the Front Row Club subscription service in 2003, as Bass Brewery Museum, Burton, UK – 17th November 2000 (FRC-011). CD has space limitations, but in 2002 a DVD of the full 19 song show was released. Then in 2010, the audio (mp3 or FLAC) of all 19 tracks was made available for download. Anyway you want it, you can get the complete performance as it was.
Marillion were invited to perform intimate gigs at the Bass Brewery and get their own signature beer. They chose an acoustic format with new material, special covers and a guest. They were hard at work on their new album Anoraknophia, “which you’ve already bought” said Steve Hogarth, referring to their innovative pre-ordering scheme. The second gig was recorded for the fan club-only Christmas CD.
A quiet “Go!” begins and gently builds to the throbbing chorus, “Wide awake at the edge of the world.” The second song also quietly builds from calm beginnings. “After Me” is one of their most memorable pop melodies, infused with integrity from the start, and stripped bare in the brewery. Then from their 1994 concept album Brave comes the single “Alone Again in the Lap of Luxury”.* Intense songs for an intimate show. “Lap of Luxury” smoulders, and is it burns, Steve Hogarth blasts for all he’s got.
The first big surprise of the evening was the Fish-era B-side “Cinderella Search”, albeit the shortened 7″ version and not the full-on five and a half minutes of brilliance from the 12″ single. The amusing thing is when a spoiling audience member blurts out the title having attending the night before. “Oh, there’s always one,” says Hogarth. The singer had never performed the song before these gigs. The acoustic setting alleviates any pressure to be like Fish. It also enables them to seamlessly meld the song onto “The Space”, already popular in acoustic form.
“A Collection” is another B-side with dark subject matter. It’s about “an uncle” with an interesting hobby, but it’s also an ironically bright tune. “Beautiful”* and “Afraid of Sunrise”* both date back to 1995’s Afraid of Sunlight, a pair really made for the intimate setting.
New friend Stephanie Sobey-Jones on cello is invited onstage for a sombre “Sympathy”, both a single and a Rare Bird cover. Cello also features on the new song “Number One”. It had simple beginnings, explains Hogarth. “I had some words, and Mark had some chords.” Interjects Mark Kelly, “Three, actually. I’m not joking!” The track takes a stab at the artificiality of modern pop music, but was only included on the pre-ordered deluxe edition of Anoraknophobia. Simple, but extremely intense. The cello stays for “Dry Land”, a favourite ballad from 1992’s Holidays in Eden (and even earlier). The voice of Steve (Hogarth) rings true on even the most difficult note, while the guitar of Steve (Rothery) makes for a sweltering solo.
Back to 1987, and the old favourite “Sugar Mice”.* Of all the old Fish classics, “Sugar Mice” is the one that Hogarth most easily adopts. The scars that he is nursing at the end of the bar sounds like his own.
Yet still the humour is always there. As they warm up for the Mexican-sounding “Gazpacho”, Mark Kelly asks “Am I the wrong band?”
“You have been for years,” deadpans Pete Trewavas.
“Gazpacho” gets you moving as the concert enters its final third. Away, yon darkness; the music stays largely celebratory from here, though the lyrics maintain some bite. Elvis Presley, O.J. Simpson and Mike Tyson were mentioned as inspirations for the lively song. Celtic sounds invade “80 Days”,* an ode to the audience who clap along to every beat. “80 Days” was always acoustic, and “The Answering Machine”* has existed in a popular acoustic alternate arrangement for years. The brewery crowd clearly liked both very much.
A slew of covers are encore treats. Crowded House’s “How Will You Go” (from 1991’s Woodface) is a brilliant song and choice. There’s one more original (drummer Ian Mosely smokes on “Cannibal Surf Babe”) before they do Carole King’s “Way Over Yonder”* and The Beatles’ “Let It Be”.* Rothery gets a bluesy guitar showcase on “Way Over Yonger”, though Hogarth has the soul credentials too, as “Let It Be” ably proves.
For a long time, I felt that the original Christmas 2000 release of A Piss-Up in a Brewery to be one of the best Marillion live albums, period. It’s still magnificent in its full length, though perhaps they should have just made it widely available to everyone in the first place. Maybe it wouldn’t have been a hit, but if they were on Santa’s good list that year, you never know.
* Indicates this song was not on the 2000 Christmas release of A Piss-Up in a Brewery, but only the DVD and download versions.
I didn’t plan on writing anything on this subject until next year, but here goes.
First of all: Thank you.
Thank you for reading and following for the last 5 ½ years. Thank you for your comments, your emails, and in some cases your valued friendship!
Thank you for joining me as we talked about music and all sorts of miscellaneous tangents. Thanks for sharing your points of view! Thank you for being interested enough to read about my life at the Record Store, and after.
This is where we get serious.
A few weeks ago, my wife the incredible Mrs. LeBrain was diagnosed with cancer. This is on top of her major, decade long struggle with epilepsy. It feels like another kick in the shins. We made some major progress on the epileptic seizures this year, but now we have this new setback.
I’m not going to get into the details, except to say that right now, we are told the prognosis is good. That doesn’t mean there isn’t fear, or pain. Pain exists daily for her, and fear is probably right there with it. She has a fighting attitude. We both do. In my role as supporter, it’s my job to keep her going. It’s a role I wouldn’t trade with anyone else. We are all dealt different cards in life. I’ve been a supporter for a long time now. It’s not an easy job, but I have a gift for it, I guess.
Being a supporter might not be as difficult as being the one with cancer, but it does require time, and lots of energy. I talked about having writer’s block a few weeks back. I expect that there will be times in the weeks to come where I won’t have any energy to write.
I know you understand that. I know there’s no pressure to write every day, except the pressure I put on myself. And Jen has put no pressure on me to cut back or do less writing.
I continue to write because I feel good doing it. I have been a creative personality for as long as I can remember. Writing about what I love – music – brings me great happiness. It helps me forget, for a short while, the real struggle of our lives. Reading your comments is its own form of joy. After all, writing is only half of the equation if nobody is there to read it.
Again – thank you for reading. You probably didn’t know that it pumps me up, like fuel injection. The first thing I do every morning is read the comments.
Because even the supporter needs to take care of themselves, I continue to do what I do. I must do what makes me happy. I don’t plan on stopping for this. As much as I love to write for you, I do it mostly for me.
There are going to be times when I’m too tired physically, mentally or emotionally to work. There may be some days with no new content. I’ve been having trouble dedicating time to finishing the KISS Re-Review Series. Now you know why.
This is not going to stop us. We have the best medical team, and family to support us. We have friends who have offered to be there with us in this fight. I’m confident we are going to beat this. I’m looking forward to getting it all behind us.
We have a busy schedule in the coming weeks. Lots of appointments and tests and travel. If I miss a day, or two, or three, don’t worry. It’s just us taking on a bigger challenge, together as a team like always. But when we beat it, and I’m sure it’s “when”, I know you’ll still be here.
Thank you for your support. When I feel we have something to update, I’ll let you know how it’s going. Until then, stay safe and healthy this season. We have the upcoming Christmas bounty, and all the year end lists to look forward to. Please continue to join me as we rock and roll all nite (and part of every day).
Fuck you, cancer!
GETTING MORE TALE #618: Qui-Gon’s Noble End
The excitement for a new Star Wars movie was never higher than it was in May of 1999. After all, before Episode I: The Phantom Menace was released, George Lucas could do no wrong. Sure, sure, he hadn’t actually directed anything since the original Star Wars in 1977. That only added to the mystique. He had served as a writer/producer on all three Indiana Jones films, but other than that his credits were not that impressive. Surely, with George Lucas directing Star Wars again, we’ll get something just like we always wanted, right?
Were we ever naive.
There is one figure that never let us down, and that is composer John Williams. His soundtracks always had a few key themes that would stick with you forever. And he was busy through the 80s and 90s, working with his pal Steven Speilberg frequently. Of course, Williams had to return for the new Star Wars. There was nobody else who could do it.
The hit single “Duel of the Fates” premiered worldwide before the movie itself. Hit single? “Duel of the Fates” had a stunning music video…really, a long kick-ass extended trailer. It made the rotation on MuchMusic and MTV, for good reason. Not only was the video a showcase for Darth Maul and our heroes Obi-Wan Kenobi and Qui-Gon Jinn, but the music resonated with people too. It’s tense track with a choir, which Williams always saves for the most dramatic moments in Star Wars. It’s fraught with drama and it’s brilliantly composed, and performed by the London Symphony.
The sheer scale of everything Star Wars in May 1999 meant that we would be stocking The Phantom Menace soundtrack front-racked at the Record Store. That was rare for us. Previously, we stocked James Horner’s Titanic soundtrack, but that boasted Celine Dion’s massive “My Heart Will Go On”. In a sense, perhaps “Duel of the Fates” was the “My Heart Will Go On” of Star Wars. It wasn’t as big but it sure helped put the soundtrack CD on the racks. There were some incredible themes on the soundtrack, but unfortunately also a lot of music that, to use a phrase of my friend Erik Woods, was just “sonic wallpaper”.
The CD was released on Tuesday, May 4, 1999, in advance of the film. We received our copies on Friday, June 30.
Of course I was going to buy my copy right then and there, but I couldn’t believe what I saw when I scanned the back cover. Track 15 caught my eye.
What. The. Hell?
“Qui-Gon’s Noble End”. Everybody knew that Liam Neeson was playing a new Jedi character named Qui-Gon Jinn. A little after that, another track includes “Qui-Gon’s Funeral”!
Why…the fuck…would you advertise that Liam Neeson is dying in the fucking movie, two weeks before the movie is even out? Who named these tracks? Why the hell would you spoil the end of the movie so badly for everyone?
It was baffling. It’s still baffling.
The track list for Star Wars Episode VIII: The Last Jedi has leaked. I’ve seen it. There are really no colossal spoilers on it. You’ll still want to avoid it if you wish to remain completely spoiler free, but at least they’ve learned their lesson about naming tracks.
One of the most anticipated movies of all time was bound to sell more than a handful of soundtracks in advance. That’s why The Phantom Menace was on our charts! Every single person who bought that CD knew that Liam Neeson was going to die.
The Phantom Menace came out on May 19. My sister and I sat there, watching the final duel. As lightsabers ignited, “Duel of the Fates” began to play. We both sat wondering exactly when Qui-Gon was going to meet his noble end. It became obvious when he and Obi-Wan Kenobi were separated by a force field. Right on cue, Darth Maul impaled him with his red-bladed weapon.
It could have been shocking, but the bigger surprise was that they killed off such a cool villain as Darth Maul after just one movie. (Yes, I know he was resurrected on Clone Wars, a good TV series.)
As we gear up for The Last Jedi in a few short days, let those who wish to remain spoiler-free do so in peace. There will hopefully be no Death Star-sized screwups like “Qui-Gon’s Nobel End”!
…Hosted by Vinyl Connection
GETTING MORE TALE #617: Now! 2
“Have you had a lot of people returning this CD?” asked the irritated mom standing at the front counter.
“Not that I know of,” I answered, truthfully. Unless one copy counts as “a lot”.
“Well this is the second copy I got from your store! And it won’t play!”
The steaming woman handed me her copy of Now! 2. This was a Canadian spinoff from the popular Now That’s What I Call Music series. All pop hits. And the CD was a mess. A totally destroyed disc. Instead of a nice, clean surface, it was a series of tight concentric circles. You could feel them. It looked like somebody tried to carve LP grooves onto a CD. Even the plastic case was already a skating rink.
I’d seen this kind of damage before. Car CD players were notorious for that kind of scratching. The technology of the 1990s didn’t make for very good portable CD players. I saw plenty of discs with the circular damage. A CD player’s laser can’t hope to read a disc looking like that. And they didn’t come out of the case that way. Yes, CDs can be damaged with you buy them. Usually that’s from the packaging process and results in a few cracks or large scratches. But patterns of concentric circles didn’t come out of the box. That was caused by a CD player – period. It used to blow customers minds when I’d ask if they owned a car or portable CD player just by looking at their damaged discs. I was never wrong.
Additionally, even though I told her otherwise, I’d seen that kind of damage once before on a Now! 2 disc…returned by the same woman a few days before! Same story then too, only I wasn’t working that day. The lady claimed to have bought the CD like that, so our helpful staff exchanged the disc for her. Now she was returning the replacement copy too. Two copies, utterly and carelessly destroyed.
I’m sure the lady couldn’t fathom that it was her kids who wrecked the CD with their portable players. Little Timmy or little Suzie wouldn’t lie about such things.
Because we had a “no questions asked” exchange policy, I had to do the exchange. But I made sure it was the last one.
I grabbed another new copy of Now! 2.
“I’m going to open this CD right now,” I explained, “so you can see its condition right out of the package.” I cut off the shrink wrap.
I carefully removed the CD from the case and showed it to her. “As you can see this one is clean and brand new.” She nodded yes.
“This is the way they should always look coming out of the wrapper,” I explained. “Since you’ve seen this one for yourself, we know it’s in good shape. I’m going to write that on your receipt.”
She said “OK”. I took her receipt and wrote, “CD was opened for customer in perfect condition – NO EXCHANGES.” I signed it and handed it to her with her third and final brand new copy of Now! 2.
We didn’t have any more problems with the lady and her destructive kids after that. Fortunately our distributor let us return both wrecked copies of Now! 2. They didn’t have to.
“Now” that’s what I call CD abuse!
|2.||“That Girl”||Maxi Priest featuring Shaggy||4:00|
|4.||“Your Woman”||White Town||4:18|
|5.||“You Were Meant for Me” (Unreleased radio version)||Jewel||3:13|
|6.||“I Love You Always Forever”||Donna Lewis||3:59|
|8.||“No Diggity”||Blackstreet featuring Dr. Dre||5:03|
|9.||“Da’ Dip”||Freak Nasty||3:52|
|11.||“Fastlove” (Summer Mix)||George Michael||4:40|
|12.||“Wrong” (Todd Terry Remix Edit)||Everything but the Girl||3:55|
|13.||“On & On”||Erykah Badu||3:45|
|15.||“I’m Still in Love with You”||New Edition||4:39|
|16.||“I Don’t Want to Think About It”||Wild Strawberries||3:45|
|17.||“Barely Breathing”||Duncan Sheik||4:14|
One thing I love about Christmas time is the ability to knock out all these Christmas album reviews. I can only listen to this stuff seasonally, and I wouldn’t subject you to it otherwise. In my quest to Review Everything I Own and Then Some, we must occasionally delve into Christmas music.
Rock bands doing Christmas tunes is…well, I mean it worked out OK for Elvis, and then later on Twisted Sister and the guys from Trans-Siberian Orchestra. Each of those artists had success with Christmas music for good reasons, but I think Twisted Sister’s was purely the novelty value of it. The humour. The nudge-nudge-jokey-ness of it. It wasn’t that they made a Christmas album laden with integrity. It’s a joke album as the intro implies.
The album commences with Dee & company singing a traditional acoustic version of “Have Yourself A Merry Little Christmas”. They are then interrupted by someone saying “This isn’t Twisted Sister!” It then goes metal with a dash a punk. “Ho ho ho! Let’s go!”
The biggest joke is that, apparently, “We’re Not Gonna Take It” was always just “Oh Come All Ye Faithful” in disguise. This was the big Christmas hit that put Twisted back in the spotlight, and it’s certainly the most enjoyable track on the CD.
Songs follow vague heavy metal blueprints. “White Christmas” is imbued with an Iron Maiden gallop and a couple chords from “SMF”. One thing is clear, and that is Dee Snider’s voice still has it. The guy is a hell of a singer, period. He’s joined by Lita Ford on “I’ll be Home for Christmas”, in the style of Twisted’s original epic ballad “The Price”. Unfortunately this one stinks like Christmas cheese that should have been thrown out last year. A shouty “Silver Bells” is done with a splash of AC/DC, but ends up sounding more like Poison. Bassist/producer Mark “The Animal” Mendoza has a pretty kickass bass solo, though.
Judas Priest’s “You’ve Got Another Thing Comin'” is the foundation of “I Saw Mommy Kissing Santa Claus”, and it is at this point that you realise a whole album of this stuff is a bit too much. “Let It Snow” is given the doomy treatment, as an amalgam with Black Sabbath’s “Children of the Grave”. I suppose the doomy direction does go better with lines like “The weather outside is frightful”. Maybe Dee & company are on to something here, but I’m not too sure about the Sabbathy version of “Deck the Halls” with echoes of “War Pigs” and “Never Say Die”.
“Chestnuts Roasting on an Open Fire” is a little dull, and “The Twelve Days of Christmas” is too long, as it often is. The only version of “Twelve Days of Christmas” anyone needs for a novelty is Bob & Doug McKenzie’s classic. That’ll make your party pop a lot better than Twisted’s version.
Let’s check some boxes. Is this album:
All well and good. But will you:
It is good that A Twisted Christmas brought the band the kind of success they deserved, but it is truly a shame that it is the final Twisted studio album. They were always considered a joke to the critics, they shouldn’t have gone out on vinyl as a joke.
…Hosted by Vinyl Connection
There are way too many CDs in my collection that I don’t like, but I own for one or two rarities. ECW Extreme Music is one of those many. I have never watched an ECW wrestling match in my life. I only know one of the wrestlers pictured inside, Bam Bam Bigelow, because he was in the WWF when I was a kid. I don’t like the 90s version of wrestling with the blood and barbed wire. And I don’t like much of the music they used.
First is the generic riff/loop combo of Harry Slash and the Slashtones, whoever that is. Skip that repetitive crap to get to a White Zombie remix. “El Phantasmo and the Chicken-Run Blast-O-Rama” was a great groove from Astro-Creep: 2000. The “Wine, Women & Song” mix by Charlie Clouser is from their remix CD Supersexy Swingin’ Sounds. It’s an enjoyable remix, which is something best appreciated on its own rather than on a remix album.
Somebody named Kilgore did a carbon copy cover of “Walk” by Pantera, presumably because using the original would have cost more? It’s embarrassingly copycat. Your friends who don’t know will assume it’s Pantera. Fortunately a great Megadeth tune is next. Cryptic Writings is an underrated album, and “Trust” was probably the second best track on it (right after “A Secret Place”). This instrumental mix is an exclusive and has emphasis on Marty Friedman’s lead guitar which replaces the vocals.
Bruce Dickinson (and Roy Z) is next with a lacklustre cover of “The Zoo” by the Scorpions. There’s nothing particularly wrong with it, it’s just a cover, but it’s also a non-album track that collectors will want. Too bad it’s not exceptional like most of Bruce’s output. It’s just good not great. Another cover follows: Motorhead doing “Enter Sandman”! It’s as bizarre and weirdly perfect as you’d expect it to be. Grinspoon are next with their fairly stinky version of Prong’s “Snap Your Fingers, Snap Your Neck”, robbed of all its snarl. John Bush-era Anthrax are more impressive with Metallica’s “Phantom Lord” from Kill ‘Em All. It’s breakneck, and also very cool to hear a Big Four thrash band covering another Big Four group.
Pantera, minus Phil Anselmo, are here for their cover of ZZ Top’s “Heard it on the X”. It’s both ZZ Top and Pantera at the same time, and that’s kind of remarkable. That’s it for this album though — nothing worthwhile from here out. What’s the point of having a cover of “Kick Out the Jams” (courtesy of Monster Magnet) but then beep out the naughty words? Somebody named Muscadine decided to do “Big Balls” by AC/DC, a pretty obvious bad idea. Just awful. Then it’s more of Harry Slash to end the CD with some more pure filler.
CMC International released a lot of low budget crap over the years, and this CD is pretty poor. There are five pages of merch advertising inside, including one for a ECW Extreme Music 2. I skipped that one. This CD is collectable for the Bruce Dickinson, Anthrax and Motorhead tracks. But these are cover tunes we’re talking about, so tread wisely.
…Hosted by Vinyl Connection
Do you have a favourite Christmas album? Perhaps you need some Merry Axemas in your life. The first one, in particular.
I used to have an annual tradition of making a Christmas mix CD. I dropped it because after a while I ran out of good Christmas tracks. Something from Merry Axemas used to make the list every year. Not only are there great traditional songs, but also the finest guitar slingers in the world. For an album of (mostly) instrumentals, this one really rings the bells.
Louisiana blues rocker Kenny Wayne Shepherd gets things started with “Rudolph the Red-Nosed Reindeer”. Anyone on board with the blues should enjoy the solid jamming going on here! This isn’t for grandma. This is for guitar maniacs! Progressive stylist Eric Johnson has a beautiful “First Nowell”, on a classical and electric guitars with accompaniment. Grandma won’t mind this one at all, in fact she might want a copy for herself. The wizard of the wires, Jeff Beck, then presents his slide guitar version of “Amazing Grace” complete with choir. A different mix of elements, but not too hard to digest.
Not the version from this CD, which is instrumental
The Brian Setzer Orchestra comes out swingin’ with their instrumental “Jingle Bells”. If you ever needed reminding how awesome the former Stray Cat is on six strings, then check this out. Brian keeps it all accessible while simultaneously blowing off your nuts. The big band is icing on the cake. Joe Satriani is next up to the plate with an adventurous “Silent Night/Holy Night Jam”. This one is strictly for guitar-heads and players, as it’s more a Joe showpiece than anything else. Picture Joe circa Flying in a Blue Dream and you’re in the right place, but not very Christmas-y. This is the only song that has never made one of my annual Christmas mix CDs. Steve Morse’s “Joy to the World” is far more successful as far as the Christmas theme goes. Steve does do it his way, but at least you can tell which carol you’re listening to. If anyone can capture angelic Christmas guitar tones, it is Steve Morse.
How big can these names get? Try Steve Vai on for size. You might recall “Christmas Time is Here” from the classic Charlie Brown Christmas special. Vince Guaraldi made it popular for all ages, and Steve does a playful take on it, using his guitar like a voice. And the names keep getting bigger. Heard of Joe Perry before? The Aerosmith guitar hero does Elvis Presley’s “Blue Christmas” as a Hawiian guitar instrumental which suddenly goes surf rock. Rush’s Alex Lifeson then brings “The Little Drummer Boy”, with a low-key and quiet instrumental.
“‘O Holy Night”, performed by Richie Sambora formerly of Bon Jovi, swings and just barely misses. It just doesn’t have that Christmas feel. The Japanese guitarist Hotei has the final track, John Lennon’s “Happy Xmas (War is Over)”, which is actually a traditional that Lennon and Yoko Ono wrote lyrics to. He goes a little over the edge partway through, but it mostly maintains the right feel.
Here’s the great thing about Merry Axemas. Even if you don’t care for Christmas music, there is usually a need for it around, once a year. Merry Axemas, with some modest editing, could suit your needs. Don’t celebrate Christmas? No problem — if you’re a fan of these players (particularly Morse, Vai, Perry, and Johnson) then you’ll want to hear what they did with these tracks.
…Hosted by Vinyl Connection
“If You Could Only See” the reasons I own this CD.
Nobody buys a CD like Hit Zone 4 and likes every single track. Stuff like this was popular because it gave kids an easy way to get a bunch of one hit wonders from the rock and pop genres without buying the albums. There were also big names on board. CDs like this were always on the charts, year ’round. Today, kids just go to Youtube or Spotify. But even a curmudgeon like me can find a few songs here to enjoy.
In particular, I bought this CD for a rare non-album version of “If You Could Only See” by the underrated Tonic. This was their big hit, and the version on Hit Zone 4 is an alternate recording with a slightly new arrangement. The liner notes lie and say it’s from their album Lemon Parade; this is obviously false. In fact there’s no obvious way to tell it’s a unique version without listening to it.
What else is good? “All Around the World” by Oasis (from 1997’s Be Here Now) is one of their more Beatles-worshipping moments. Here it’s in the form of a radio edit (4:50). I’ve never felt “All Around the World” was one of Oasis’ best tracks, and it works better in the context of its grandly overblown album. However, “All Around the World” is like freaking gold, compared to Boyz II Men….
Other decent music: I have a soft spot for Chantal Kreviazuk’s ballad “Surrounded”. Jann Arden too, and “The Sound Of” is one of her very best tracks. I’ve seen Jann live, and she did a fantastic show with stories and jokes and unforgettable songs. Then there’s fellow Canuck Bryan Adams, with his excellent acoustic rocker “Back To You”, from his Unplugged album. Few Adams albums from the 90s on are worth a full listen. Unplugged is. “Back To You” was the “new” track used as a single. It’s bright and alive in a way that Adams’ later music is not. Fiona Apple’s dusky “Criminal” is classic, of course. Finally, who doesn’t still love The Mighty Mighty Bosstones “The Impression That I Get”? They were one band that truly deserved their hit. They’d been at it for so long, and this song is really just that one perfect tune for the right time.
Unless you were a kid in the 90s, you’ll find yourself skipping over ‘N Sync, Backstreet Boys, All Saints, Robyn, and even Hanson. Young Hanson can be tough to listen to. I mean, they were kids, making music that kids liked. It couldn’t really be helped. I also find myself breezing past Mase, The Verve Pipe and Imani Coppola. One hit wonders, right? Shawn Colvin’s OK, but Boyz II Men can fuck right off. “4 Seasons of Loneliness”? Maybe because you guys are all wearing matching sweaters. You can’t win friends with sweaters.
Hit Zone 4 is the kind of thing you buy in a bargain bin if you find it for $1.99. These were once front racked at the old Record Store for $16.99 because they had so many hits from the late 90s. It really was great value, because really, are you going to listen to Imani Coppola’s whole CD? Be honest!