One of the great Unplugged albums of all time…isn’t even an “official” Unplugged album. Β That would be Tesla’s spontaneously released Five Man Acoustical Jam from 1990. Β Its hit single “Signs” absolutely helped set up the MTV Unplugged revolution.
With no intention of creating a live album, Tesla played a few acoustic gigs on off days and then recorded the Philly show for the archives. Β However a radio station in Boston started playing an acoustic rendition of “Signs” and plans were put in motion to capitalize. Β Thus Five Man Acoustical Jam came to be, a highlight of the Tesla catalogue that was almost completely unplanned.
“We’re just fuckin’ around tonight!” says singer Jeff Keith before “Heaven’s Trail”. Β Well then Tesla should spend more time fucking around. Β The looseness of the songs was so fresh for 1990. Β Tesla rolled the hits: “Modern Day Cowboy”, “Gettin’ Better”, “The Way it Is”, and of course “Love Song”, the only one with an electric solo. Β But because they were “just fuckin’ around”, there are also some very interesting covers: Β Beatles, Stones, the Dead, CCR and of course the Five Man Electrical Band. Β Tesla’s version of “We Can Work it Out” is awesome and incredibly fun. Β Less so with the Stones’ “Mother’s Little Helper” which is an unusually structured song to start with. Β “Lodi” by CCR was custom made for Tesla. Β “Signs”, of course what the smartest cover song decision the band ever made.
Five Man Acoustical JamΒ is a live album held in high esteem, for many good reasons.
1. A great selection of original material (old and brand new) that worked well in the acoustic format.
2. Choice covers.
3. Terrific recording, and 100% live with no fixes or overdubs.
4. Expert musicianship.
5. Humour.
Frank Zappa asked “Does humour belong in music?” The answer is “Sometimes”! One of those times is a loose, fun acoustic show. They could get away with playing a joke track like “Tommy’s Down Home”, written and sung by guitarist Tommy Skeoch. “I’d like to cut the balls off a long-haired hippie, and tie them up to a tree,” he sings gleefully.
The one single was the smash hit “Signs”, and it had a non-album B-side. Β “Little Suzi” (also a cover, but an earlier one) might be from the same gig. Β Jeff’s voice is shredded on this one, but it’s hella cool.
It’s probably fair to say that Tesla are underrated. Β They get stuck on tours with bands like Poison, who have nothing to do with the rootsy rock that Tesla has on offer. Β Tesla are better than that, and Five Man Acoustical Jam is actually a bit of an essential classic to own. Β The irony is that Tesla’s most definitive live album is the one that was basically a fluke!
One of my very first lessons at the Record Store came courtesy of a customer whom nearly everyone loathed dealing with.Β Nancy was her name, but she also had a very politically incorrect nickname back in 1994-1996.Β Some people have no filter, and Nancy was one of those people.
What I discovered during our very first interaction was that she liked Chris Cornell from Soundgarden.Β A seemingly innocuous interest.Β But she liked Cornell a lot.Β More than the average bear.
I was new at the store and had never seen her before.Β The store owner had, and with a little mischievous intent, sent me over to ask her if she needed help finding anything.Β Little did I know, he was sending me into the lionβs den.
βHi, can I help you find anything today?β I asked as I approached.
βNo thank you,β she said before adding, βDo you have any Soundgarden?β
Of course we did!Β It was the summer of 1994.Β Superunknown was one of the biggest CDs of the season.Β Badmotorfinger was still hot too.Β I showed her what we had new and used, but she wasnβt interested.Β She just wanted to talk.
She saw the copies of M.E.A.T Magazine that we carried on the front counter.Β M.E.A.T (βMetal Events Around Torontoβ, or βMetal-Alternativeβ) was an excellent publication made all the more impressive since it was full-colour, on glossy paper, and free.Β Chris Cornell was on the cover that month.Β Nancy saw that and went crazy.
βDo you like Chris Cornell?βΒ That was the question that sucked me in.Β I should have answered something neutral, like βHeβs OKβ or βI donβt know.βΒ Instead I answered something far more enthusiastic, thus springing the trap.Β Once she knew I was a fan too, she wouldnβt stop.
βHeβs sexy!β she began.Β βHeβs so sexy when he wears his Doc Martens.Β Are there pictures here of him in his Doc Martens?Β Do you know the Doc Martens I mean?β she asked as she flipped through M.E.A.T Magazine.Β βI love Chris Cornell when he wears Doc Martens!β she continued.Β βHe used to have long hair but now itβs short.Β I liked his long hair better, which do you like best?β
At this point, I realized I was in the thick of it and the boss had sent me in, intentionally.Β He continued going about his business as I tried to extract myself from Nancyβs conversation.Β He ignored my sidelong glances appealing for help.Β However I was new, brand new in fact, Iβd only been there a couple weeks and had no idea what to do!
βDid you know that the original bass player from Soundgarden was Japanese?Β Iβm Japanese too.Β Did you know there are not many Asian people in rock and roll bands?βΒ Iβd never thought about it before.Β Now I wished I never had the chance to think about it.
Throughout the 20 or so minutes that I was stuck with Nancy talking to me, she had much to say on sexy grunge rockers, the members of Soundgarden, Doc Marten boots, and Asians in rock.Β And of course, she asked my name.
βNice to meet you Mike, Iβm Nancy.βΒ And I would never, ever forget that name even though she periodically forgot mine.
When Nancy finally left without buying a damn thing, my boss said to me, βThatβs your first lesson.Β Donβt get into conversations with customers.β
Nancy was one of the most regular of regular customers.Β As we expanded, she visited all our local stores.Β She came in year after year, and many staff members became trapped in her spider-like snare of conversation.Β But she had a nasty side, she wasnβt easy to deal with.Β I was βluckyβ she was in a good mood during our Cornell conversation.Β On other occasions she called one of our guys βretardedβ and made work unpleasant in general.Β After Soundgarden her next obsession was classical music, and she stalked our classical sections for years.Β She had a husband who liked to wait outside, but once or twice he had to come in and calm her down when she was upset about something.
To me sheβll always be Nancy the Chris Cornell fan.Β I thought of Nancy when Chris died.Β What happened to Nancy?Β I used to see her around town, but itβs been over 10 years since I last spotted her.Β Probably still haunting records stores somewhere and providing βinterestingβ conversations.
Before I met Mike, my knowledge of music was pretty minimal, and I had not yet been able to see the influence it could have on daily life. Β I mostly listened to what my friends had shown me, which was basically dance and rap music. Β I did have a friend who made me a mix tape, it mostly consisted of tracks from one of those Dance MixΒ [also known as MuchDance] albums, but amongst all that was βSweating Bulletsβ by Megadeth. Β I listened to this song fairly often.
When I met Mike I absorbed a lot of his musical tastes. Β I looked up to him, and he seemed to know a lot about music, and was very passionate about it. Initially I was just enjoying what I liked the sound of, but this eventually shifted to me being a Β bit of a music snob, and focusing mostly on the lyrics, and the message of the song.
Some of the first bands Mike showed me were Soundgarden and Rush.* Β Once I got more into music I found I enjoyed a lot of Rushβs music, but couldnβt really find much personal value in it. Β There was one song, βDistant Early Warningβ that I always found to be powerful, and to this day it is still my favorite song by the band. Β I have a feeling that Mike still thinks of me when he hears this song.**
I also associate Rush with a different element of my life. Β I had a friend who I spent a lot of time with, and Β really liked the girl who lived next door to him. Β I remember talking to her about music, and at this point I still didnβt really have an abundance of knowledge, so I went with the few things I had learned from Mike at the time. Β I told her I liked Nirvana, Soundgarden, and Rush. Β I remember her response of βRush sucksβ made me feel a bit embarrassed, because with music in general I really didnβt know what I was even talking about at that point in time.***
Another association I still have to this day is in relation to Soundgarden. It was around the time that Superunknown had been released, and Mike and I were both huge fans of the album. Β At this point in my life I was starting to find value in the lyrics, and Soundgarden and Nirvana really had what I was looking for.
I used to live across the street from a public school, and one evening Mike and I went over there and were just belting out the lyrics to βSpoonman.β Β I would take the more mellow parts like βAll my friends are skeletons,β Β and Mike would follow by screaming at full capacity βThey beat the rhythm with their bonesβ. Β This would of course prompt us to both yell βSpoonman!β in unison.
I find it pretty extraordinary that music can be tied so tightly to memory. Β I saw Soundgarden play in Toronto a couple years back on their reunion tour, and even then I thought of Mike when they went into βSpoonman.β Β
If you are interested in learning a bit more about me, please check out my work on Medium. Β
I am in the process of reflecting on my life story. Β Feel free to share some of your most memorable events that you use music to help you remember in the comment section below.
Godspeed, Aaron
* Rush I remember, but I didn’t know I could take credit for getting him into Soundgarden. Β That’s pretty cool. Β
** I do!
*** Perhaps I should have warned him that girls did not like Rush.
Youβve met new contributor Aaron, and as he begins his story, youβll get to know him a little better.Β But how did he enter Record Store Tales?
Itβs a funny story, but I very briefly dated his older sister.Β We all βmetβ online β a local electronic βBBSβ or βBulletin Board Systemβ.Β My handle was βGeddyβ and his was βCaponeβ.Β He still sometimes calls me βGeddyβ!Β He must have thought I was cool or something.Β I wasnβt even working at the Record Store yet when we first met, but Aaron/Capone was big time into music.Β He loved Guns Nβ Roses.Β It was 1994, and Guns Nβ Roses were still big news.
When I started at the Record Store, it was like the floodgates opened!Β Suddenly, via me, Aaron had access to all kinds of rare rock.Β His favourite band was Nirvana, and a few months later I was getting in rare CDs like Outcesticide and Hormoaning.Β We continued to bond over music, and started hanging out on weekends. Β He was known to complain a bit about my “80s rock” in the car…my response was always “the driver chooses the music”!
Most weekends revolved around music in some way.Β Weβd hit all the major local stores:Β Dr. Disc, Encore, HMV, Sunrise, and of course my store.Β I remember one Sunday shift: Aaron had nothing to do that day so he just hung out at the mall during my shift.Β It ended up being a great idea.Β He helped out some of my customers when I was too busy!
I couldnβt even begin to guess how many discs we bought on those shopping excursions, but I remember a few.Β I got Japanese imports of Kiss Killers and Judas Priest Unleashed in the East, at the Sunrise records at Conestoga Mall.Β I can recall one afternoon of introducing Aaron to Iron Maiden.Β Their home video Raising Hell had just come out, which was to be Bruceβs βfinalβ show with the band.Β They had a βhorror magicianβ on stage named Simon Drake and we enjoyed that video quite a bit.Β βDo all their songs sound like this?β asked Aaron, who was more used to the detuned rock of the 1990s.
I have one memory that happened a bit later on, after Aaron had his daughter.Β A lady came into my store with a giant box of CDs and almost all were shit.Β I had to pass on most of them for a variety of reasons. Β It was mostly dance music. Β They were in shit condition, they were shit titles, and we had too many of them already.Β The lady didnβt care; she just didnβt want them.Β βJust keep them,β she said.Β She took a few bucks for the discs we could take, and left behind at least a hundred worthless discs.
Worthless to the Record Store, anyway.
We didnβt really have a specific policy at the time regarding what to do with the abandoned discs in this situation. Β The store could not sell them. Β Iβm not sure if the Boss Man would have been pleased that I took them, which is one reason why Iβve chosen to wait 20 years to write Record Store Tales and Getting More Tale.Β Aaron and I took the discs to a Cash Converters store, which was a pawn shop on the other side of town. Β They were the competition.* Β It was funny watching the guy go through all the CDs I had passed on, checking the discs inside and not caring about all the scratches.
One thing Aaron owned that I did not was a Super Nintendo.Β I skipped the Super.Β My sister had the original NES and I had the Nintendo 64.Β Aaron and I had played WWF Wrestling on his Super Nintendo, and I quickly became addicted to the game.Β So together we dumped the box of junk CDs at the pawn shop, where I bought a Super Nintendo and a couple games.Β Star Wars: Shadows of the Empire was one, a great game that still rocks today.Β Unfortunately that Super Nintendo busted after two months.Β Rats!
At least we had fun.Β Whether it was watching shitty horror movies (Killer Klowns from Outer Space, The Stuff, Frogs), searching for rock and metal in record store racks, or pawning shit to buy more shit, we definitely had our fair share of fun.Β And thatβs the long and the short of how Aaron fits into Record Store Tales.
* The Cash Converters outlet close to our store was managed by a guy that we named “Jheri Curl Man”.
Mrs. LeBrain and I have been married nine years, but in many ways we’re still romantic like newlyweds. Β The other night we went out together to take out the garbage. Β It was beautiful outside. Β The sun is up until late now, it was warm and there was a nice breeze. Β Neighbors were out, kids playing…it was that sort of night. Β I just threw on some pajama pants for the garbage walk.
As we were walking back, I started singing a silly song (it’s the kind of thing I do) and skipping ahead a bit. Β I didn’t hear what Jen was saying as she was trying to get my attention. Β I just kept singing and skipping.
Then I noticed my weiner was out. Β Jen was trying to warn me that my love gun was giving the neighbors a show. Β This explained why the one fella looked at me funny.
Animalize: Β a huge hit not proportional to the quality of the songs inside. Β It went platinum on the strength of lead single “Heaven’s On Fire”, but going deeper into the record, Kiss did not have the goods this time.
New guitarist Mark St. John (formerly Mark Norton) replaced the fired Vinnie Vincent, and in doing so, continued Kiss’ quest for shreddery dominance. Β In the 80s you had to have an Eddie Van Halen or Yngwie Malmsteen to get noticed, or so it seemed, and that was what Kiss went for. Β In the meantime, Gene Simmons was off in Hollywood leaving Paul Stanley to do handle Kiss, something Paul eventually came to resent.
Paul Stanley re-teamed with his songwriting buddy Desmond Child. Β Their last collaboration was 1979’s disco hit “I Was Made For Lovin’ You” from Dynasty. Β The partnership struck gold a second time with “Heaven’s On Fire”, a simple song perfectly suited for the Kiss of the 80s and beyond. Β Paul Stanley’s “Woo-ooo-ooo-ooo-OOOOO-ooo” intro is legendary and truthfully a song like “Heaven’s On Fire” isn’t too far removed from classic Kiss. Β Paul’s sassy delivery is enviable.
Desmond Child also co-wrote the opening number “I’ve Had Enough (Into the Fire)”. Β As the 80s began, Kiss seemed determined to write fast songs for their albums. Β Very fast songs. Β “I’ve Had Enough” is one of those, and it’s a good one too, though it was rarely played in concert. Β You’d never guess Desmond was involved without reading the credits, but you’d also not imagine it was Kiss if it wasn’t Paul singing.
Another fine Paul song called “Get All You Can Take” is a co-write with Mitch Weissman whose name has repeatedly popped up on Kiss credits over the years. Β This slow paced sleazy rocker has one of the few Kiss f-bombs in the chorus: Β “What fucking difference does it make?” Β Mark St. John’s solo is a blazing showcase of different tricks and techniques, but it suits the song rather awkwardly like an ill fitting tux. Β Such was the problem with a jazz-influenced shredder in Kiss.
Another fast number is “Under the Gun” written by Paul, Desmond and drummer Eric Carr. Β This one was played frequently on the Animalize tour though there are better songs. Β Fluttery guitars sound like laser beams zipping back and forth. Β Carr kicks ass, but it’s not a great track. Β Paul gets in a cute double entendre though: Β “There’s no speed limit where I’m coming from…let’s hit the highway doing 69!”
The final Paul song is probably the best one, although he has since criticized it as not good enough. Β “Thrills in the Night”, co-written with Jean Beauvoir, deserves praise. Β Sometimes the artist is their own worst critic, but “Thrills in the Night” is awesome, dramatic Kiss rock. Β The chorus goes on for weeks and the soloing fits.
If Animalize was a Paul Stanley solo EP, there would be enough good songs to give it a passing grade. Β However…we have the Gene Simmons songs.
Animalize shall forever be cursed as the album with the lyric, “I wanna put my log in your fireplace.” Β Yes, the man who once wrote a song with Bob Dylan also wrote a ditty called “Burn Bitch Burn”. Β The riff is awesome. Β It has its moments. Β It’s also undeniably one of Gene’s worst lyrics, and that is saying something. Β The song also sounds unfinished, as if he said, “OK good enough, onto the next song.” Β Fortunately Mark St. John’s solo playing is awesome, though not especially accessible. Β And that’s Gene’s best song on the album.
Gene’s other songs are “Lonely is the Hunter”, “While the City Sleeps” and “Murder in High Heels”. Β Of these, “Lonely is the Hunter” is by far the best. Β A slow sleazy groove is more up Kiss’ alley than these fast speed rockers. Β All three of these songs have one quality in common with “Burn Bitch Burn”, and that is that they sound like rough ideas gone unfinished. Β Animalize was produced by Paul (with a co-producer credit for Gene). Β A Kiss producer like Bob Ezrin likely would have told Gene to go back and come up with better material. Β The most interesting thing about “Lonely is the Hunter” and “Murder in High Heels” is the solo work. Β It’s stellar. Β It’s not overdone. Β It’s melodic and memorable. Β And it’s…familiar. Β Future Kiss guitarist Bruce Kulick stepped in to play ghost guitar on these songs.
The trend of Kiss using uncredited outside musicians was growing. Β Allan Schwartzberg (who also played on The Elder) did drum overdubs. Β Jean Beauvoir played bass on “Under the Gun”. Β Gene played the rhythm guitars on his own songs. Β That’s why the credits on Kiss albums always simply state: Β KISS – and the names of the members.
Gene cut his hair short for a movie called Runaway. Β He starred as the villain (of course) Dr. Luther, opposite Tom Selleck. Β Kirstie Alley was in it, and it was written and directed by Michael Crichton. Β Considering the year and the names involved, this was a fairly high profile role. Β Gene went for it, and has since admitted his brain wasn’t in Kiss at the time. Β The wig he wore on stage with the band made him look silly, and new fans considered Paul the singer and Gene a secondary guy. Β Gene’s songs weren’t singles anymore. Β They weren’t being played live. Β “Burn Bitch Burn” was only ever played once! Β These were all clues as to what was going on behind the scenes. Β Paul was sailing the ship now. Β He had no choice. Β Animalize suffers for it. Β Gene is to blame for his own downfall during the period and has since gracefully accepted that.
The Animalize tour was the biggest Kiss had done since the glory years, but troubles began early. Β Mark St. John couldn’t play. Β He was diagnosed with an arthritic condition called Reiter’s Syndrome. Β His hands swelled up and he simply could not do the gig. Β Mark passed away in 2007, but suggested that the arthritis may have been triggered by stress. Β The aforementioned Bruce Kulick stepped in to take his place, and did so with professionalism and respect. Β He got along with everyone. He was willing to learn. Β He was a great fit. Β The first great fit in many years.
The Animalize period put Kiss on MTV and on back the radio again, but its success was vastly disproportional to its quality.
Today’s rating:
2/5 stars
Uncle Meat’s rating:
2/5 steaksΒ
Meat’s slice: Β There really isnβt much to say here. “Heaven’s on Fire” is a good song that I still enjoy hearing. Everything else is OK at best and non-essential. “Burn Bitch Burn” might have some of the worst lyrics of all time.
RICH ROBINSON – Got to Get Better in a Little While (2016 UniversalΒ 10″ clear single for Record Store Day)
This really pretty record (a single or an EP, who cares?) was found on the Taranna 2016 expedition with Mr. Books. Β It’s apparently a Record Store Day exclusive from April 2016, although I had no problem getting this one for $16.99 in October. Β This my first purchase of anything by Rich without his brother Chris. Β Knowing the Black Crowes, I was fairly certain it wouldn’t suck. Β I was still surprise to see on the back, an ad for not one not two not three but FOUR Rich Robinson “Expanded Editions” on CD and LP! Β Who knew? Β Not this guy!
“Got to Get Better in a Little While” is a Derek and the Dominoes cover, apparently one that Crowes used to do regularly, as does Rich. Β You have to hear this if you like bluesy rock that produces pure smoke from sheer musical chemistry. Β Yes, Clapton is God and the original can’t be touched, but a real jackass could easily make this song sound like shit. Β Rich does the opposite, and it sounds as part of his musical being. Β There’s some deep bassΒ that just cuts through, and this goes on for eight and a half minutes of jam session heaven. Β Just bop along.
The second side has two Rich originals. Β Greasy late night blues is on the menu. Β “Look Through My Window” sets a scene of steamy Tennessee dusk. Β Brilliant stuff for any fan of slippery slidey guitars. Β Then an acoustic/electric tune called “Falling Away” closes on a first light of a quietΒ dawn. Β Great tunes, both, making up a tidy little 16 minute EP. Β Or single. Β Whatever!
The vinyl itself is clear and thick. Β The package doesn’t say anything about clear vinyl, but you almost expect clear or coloured when you buy these limited editions. Β It looks lovely spinning with its green label. Β Great little EP, reasonably priced for the collector and fan.
New guest Aaron Lebold has launched his own site on Medium! Β His site, much likeRecord Store Tales/Getting More Tale, is his memoirs. Β Aaron will still be back here doing guest shots — he’s already sent me his newest one. Β I wanted to post his most recent story from his own site here because it has personal meaning to me. Β Regular readers here know thatmy wife has epilepsy. Β It has been the biggest challenge ever thrown at us. Β His story reminds me of ours. Β Aaron was also the first person I ever knew to have seizures, although I never saw him have one. Β
Diagnosis
As I had mentioned, the teacher I had for Grade six was the same teacher I had earlier in school. This was also the same teacher that went to my mother to express concerns about my attention in class. I held a pretty big resentment towards her back then, as I felt she was saying that something was wrong with me.
One day in school, my mother came and picked me up. I didnβt know where we were going, she just told me I was going to have some tests done. We ended up at a doctors office where they attached a lot of wires to me, and put me under a pretty intense strobe light for a few minutes.
The whole process, even though at the time I really didnβt understand it, already was solidifying in my head that I was different, and that something was wrong with me. No other kids that I knew of had to go and get this type of examination.
Ozzy Osbourne has done lots and lots of tours since his “No More Tours Tour”. Β It seemed special at the time, because we thought Live & Loud was going to be the last live album. Β It was not. Β What was supposed to be a definitive and indispensable capstone is just another live album, only really notable for its packaging.
Let’s start there. Β If you buy this album, don’t buy the remastered edition in the jewel case. Β This album didn’t need remastering a couple years later. Β Why would it? Β Instead search for the original digipack with the metal speaker grille cover. Β Finding one in good shape can be a challenge. Β Unfortunately, the metal grille is not removable although the VHS release did have a removable grille. Β The release also came with two Ozzy “temporary tattoos” on little 2″ x 2″ sheets of paper. Β These are the first things to get lost and you might want to consider that you’ll never find them.
Live & Loud scores an A+ for packaging, but gets mediocre grades for the music. Β This is patched together from a variety of recordings, and it sounds like a lot of fixing was done after the fact. Β It’s bogged down with over-long guitar and drum solos (Zakk Wylde and Randy Castillo) and too much talking. Β There is only so much that one needs to be told to “go fucking crazy”. Β Ozzy proclaims that he loves us so often that it loses all meaning. Β He’s more of a cheerleader than a singer at times, constantly badgering the crowd to get “louder”! Β There is also an annoyingly long intro that means nothing without the visual accompaniment that’s supposed to go with it. Β I will admit that my buddy Peter and I were amused when Ozzy said “Let me see your fucking cigarette lighters” during “Mr. Crowley”.
On the plus side, this particular lineup of Ozzy’s band was one of his strongest. Β Zakk and Randy were joined by bassist Mike Inez who was invited to join Alice in Chains in 1993. Β Another plus is the presence of Black Sabbath. Β The second to last song is “Black Sabbath”, performed by the original Black Sabbath, at the final show on the tour. Β Fans will recall that Sabbath were touring their incredible Dehumanizer album, which frankly blows away Ozzy’s No More Tears. Β When Sabbath (then including Tony Iommi, Geezer Butler, Vinny Appice and Ronnie James Dio) were asked to open for Ozzy at his final two concerts, Dio bailed. Β He was replaced for those shows by a little known metal singer named Rob Halford. Β At the last of the two shows, the original Black Sabbath featuring Ozzy Osbourne, Tony Iommi, Geezer Butler and Bill Ward reunited to play a three song set. Β It was their first time together since Live Aid in 1985.
Unfortunately, a couple tracks aside, Live & Loud is flat and uninspired. Β “Black Sabbath” isn’t brilliant but at least it’s historic. Β All the important songs are there, with maybe a few too many from No More Tears. Β There is one surprise in “Changes”, the old Sabbath classic. Β This is performed by Zakk on piano and Ozzy. Β It’s brilliant and was used as the single. Β “Mr. Crowley”, “Shot in the Dark” and “Desire” are pretty good, but drummer Randy Castillo was killing it. Β He was the perfect drummer for that band. Β Rest in peace Randy.
Live & Loud is for the serious fan only, who will really want to get the grille cover. Β Live & Loud is not consistent enough for the average listener and gets bogged down in spots making it a very long run.
TESLA – Five Man Acoustical Jam (1990 Geffen)
mikeladano.com 