RECORD STORE TALES Part 161: The Woman Who Got Her Bike Stoled
The date: July 15, 2005
The location: My store
Straight from my journal, here’s the tale.
One weird thing happened today. This strange woman came in to sell CDs, but left her bike outside unlocked, and it had been stolen. Now, instead of blaming it on the lack of a lock on her bike, she decided to blame the lack of surveillance cameras outside. I don’t know about you, but I don’t know any CD store that has cameras OUTSIDE. But apparently that’s “dumb”.
She came back later in the day, telling me that she ran into two guys drinking beers in the woods. She had a beer with them. She came back into the store saying “Now I have a ‘cheap’ buzz on.”
Now I’m wondering, does she mean “cheap” as in “free”? Or did these two mysterious woodsmen charge her for the beer? The mind reels.
My journal does not say if the woman ever found the bicycle or not. Typical day on the shady side of town!
I’m going to try and cover more rarities from my collection in 2013. Here’s a very rare one indeed! First, the story of how I acquired it, then the review.
RECORD STORE TALES Part 160: Harem Scarem Acoustic Sessions
Everybody at the store knew I was a big Harem Scarem fan. A bunch of Japanese imports found their way into the store, and I bought them all. I also played their music frequently in-store, as it was melodic and radio-friendly. Their stuff ranged from early Jovi-goodness to mid-period progressive pop rock sounds, to later pop punk. I liked pretty much everything they did, until they changed their name to Rubber and drifted too far into the pop direction for my tastes.
At one point in the early 2000’s, we had a large warehouse in the back of one of our stores. The idea was, we’d warehouse stock for opening future stores. There was a warehouse manager, and he would inventory everything in there. We’d send him anything decent that we had too many copies of. He’d also have stock from liquidations, or estate sales.
A lot of the time, the stuff from liquidations would include promo CD singles. I have dozens of promo discs from him, that we couldn’t sell in store. Usually these promo discs would have edit versions of album tracks. I have stuff from him including promos from Metallica, David Lee Roth, Motley Crue, and King’s X. Some of them, like the King’s X (which we’ll talk about in the future), had rare non-album tracks too.
He also ran our eBay store, and eBay have strict rules about selling promo discs. So basically, anything that was obviously promo sat in boxes gathering dust in our warehouse. On occasion, when it was a band like Harem Scarem that he knew I liked, he’d let me have it. Otherwise it would have sat there for years, probably just to be thrown in the garbage at some point.
One of the discs that he sent my way was a Harem Scarem EP called Acoustic Sessions. Subtitltled Limited Edition, there were only 500 copies made (see footnote for confirmation of this number.)
Most commercial retail releases have barcodes, and this one does not, indicating it probably was not a commercial release. Yet it also doesn’t say, “Not For Sale: Property of Warner Music Canada Ltd.” like a promo should, so who knows? It doesn’t even have a year printed on the case, only the CD itself (1991). The spine of the CD doesn’t even have a serial number. Maybe it was given to fanclub members or contest winners?
Either way: Never seen it before, never seen it since. I don’t truthfully know how it ended up in our possession, whether it was a liquidation, or just something we purchased off a regular customer somewhere. The details are now lost to the sands of time, but either way it ended up in our warehouse and consequently my collection. I also don’t recall what I paid for the disc. Probably $3. That would have been typical, with my staff discount, for something like this. With hindsight, we probably could have sold it for much more than that, but the folks in charge always underestimated the selling power of bands like Harem Scarem.
If it’s true that there’s only 500 copies out there, then I’m thrilled.
Oh, who am I kidding? It’s a rarity no matter what! I’m still thrilled!
HAREM SCAREM – Acoustic Sessions Limited Edition (1991 Warner Music)
The EP starts with a 3:16 edit version of their single “Something To Say”, the fifth single from Harem Scarem’s self-titled debut album. It’s a ballad, pleasant enough, acoustic. It has a really nice acoustic guitar solo courtesy of virtuoso player Pete Lesperance. Otherwise I’ve never considered it a standout. If you like “To Be With You” by Mr. Big or “More Than Words” by Extreme, this is another ballad for your collection. This same version was later released on another EP called Live & Acoustic.
Onto the exclusive acoustic tracks. These three songs were only available here, or the 1994 Japanese import version of the debut album. Good luck finding that today at a decent price!
The debut single “Slowly Slipping Away” (co-written by songsmith Marc Ribler) is rendered in acoustic form first. These acoustic sessions were recorded at Cabin Fever studios and self-produced by Lesperance and singer Harry Hess. As great a song as “Slowly Slipping Away” surely is, I think it does miss something in its acoustic form. That really nice electric guitar hook that precedes the verses, I miss it! I also miss that throbbing bassline. Yet the band’s incredible harmony vocals are just as powerful as ever.
“How Long” is next, a great album track in acoustic form. The chorus is just as big and dramatic as the album version, thanks to the band’s trademark harmonies. In my opinion, the band’s strength here was the original drummer, Darren Smith. What a voice. (The quartet were rounded out by original bassist Mike Gionet who stayed for three studio albums and a couple live releases.)
“Hard To Love” was not a single, but it works really well acoustically and maybe should have been a single after all. Once again the harmonies soar, with Smith in particularly standing out. I’ve always felt that the band really lost something when he left in the early 2000’s. This is a great track, radio ready and full of hooks.
The fifth and final track is just the regular album version of “Something To Say”, at 4:41, with the full (intricate) acoustic intro.
For a five song EP, this one is a winner. Just wish I knew more about its history!
4/5 stars
ADDED NOTE: Reader Danny has emailed the haremscarem.net site, and heard back from somebody regarding there being only 500 copies of this CD:
yes it’s true. Very rare now, because it was released in this very limited quantity. Take care, Dan
One of the most popular stories of 2012 was the tale of“Aerodouche Dandy”. So, in light of that, how about a sequel?
RECORD STORE TALES Part 159: Dandydouche 2 – Dandy Deuce!
We had several CD players in our store that allowed our customers to listen to anything they wanted, before buying. It was a pretty cool innovation by the chain owner. Other stores had “listening posts” where you could listen to one of a select few new releases, but at the time nobody else would let you listen to anything you wanted in the store. As cool and helpeful as that sounds, it was also an invitation for abuse.
Many times, I’d put up to 50 discs on for somebody who purchased nothing, but we couldn’t cut them off. We couldn’t say no. You could spend over an hour serving a customer, retrieving discs and filing them when they were done, all for naught.
Record store guys have a sixth sense though. We’d pick up the signals. For example, when Kid Rock had a huge hit with “Picture” (a duet with Sheryl Crow), a lot of older people used to come in and listen to it, to see if they would like the rest of the Kid Rock CD. Predictably they didn’t, and it wasn’t out on Sheryl’s album yet. I knew they weren’t going to buy the Kid Rock CD, and most didn’t. That’s one example.
One thing Douchebag Dandy would do is purposely put the wrong CD in the player. I know of one instance where he substituted a lady’s chosen disc with Iron Bitchface. Iron Bitchface was a local “outsider music” project that Dandy hung out with. He had been known to jump onstage with them, and was always seen in public as a lookalike pairing with their singer, K-Rot.
Iron Bitchface was, by their own admission, people who could not play music. They created a lot of noise and recorded it, and split it up into tracks. I grabbed a T-shirt because I liked their logo, but it was completely unlistenable. In fact our store-play copy had a massive skip in it that nobody even noticed. That’s how bad it was.
Anyway, this time Dandy was working, a lady was in listening to every Harry Connick Jr. album we had, and not buying anything. After a dozen or so listens, Dandy swapped out her last CD for Iron Bitchface. She immediately took off her headphones. “I think the CD player is broken,” I’m told she said.
Dandy sauntered over to check. “Nope. It’s working fine.”
“Really? Whatever I’m hearing isn’t music!”
Dandy opened up the player. “Nope. This is the disc you picked out.”
“Well you can take it off, that’s nothing but garbage! Who could listen to that?” she said.
Dandy found this tremendously funny, and laughed and boasted about it after. Even though she wasn’t buying anything, that’s still just a douchebag move! Apropos for a Douchebag Dandy!
So here we are, the tail end of 2012. While I’m sure you’re just starting to get your drink on, we here at LeBrain’s Blog are tirelessly bringing you the rock even into the wee final hours. This is the time, traditionally, when we look at the past year!
We used to do Top Five of the Year lists at the record store, when we used to have our newsletter. Unfortunately I don’t have copies of any of those newsletters, not a one, which is a real shame since I poured my heart and soul into them as much as anybody else at the store. It would have been fun to look back 15 years and see what my top five of 1997 was. I do know for certain two albums that were on it: Accident of Birth by Bruce Dickinson, and The Colour and the Shape by Foo Fighters! The rest have been lost to the dusts of time.
Hey, if any of you guys are still speaking to me and have copies of the newsletter, lemme know eh? ;)
Back to the present for a moment:
What can I say about 2012? Before I even thought about doing my own blog, events were in motion that pushed me in that direction. My good buddy Craig Fee invited me down to 107.5 Dave FM for an entire week — Stump LeBrain Week! I spent a week on the air, with listeners trying to stump me. There were even a couple LeBrain Weeks and an entire month of LeBrainuary, where every single day’s 4 O’clock 4 Play quizzes were mined from my own brain’s knowledge. It was a blast, and left me hungry for more.
I’d always been writing Record Store Tales. The oldest ones were at least a decade old on my hard drive, but I had no idea what to do with them. I’d also been writing reviews — well over 800 of them on file before I launched — that very few people had seen. Craig said to me, “LeBrain, you need to get blogging this stuff. Write something every day. If you build it, they will come.”
So that’s what I did, and I thank you for reading.
Back to the Record Store Tales:
I published Part 1 on March 9 2012, the beginning of the story, called Run to the Hills. It was about the very first time I heard Iron Maiden, a date I’ll never forget. And thus LeBrain’s Blog and Record Store Tales were launched.
Some highlights from the early months that you may have missed if you’re fairly new here:
You know this was gonna happen. Aside from the fact that I’m the biggest Kiss fan around, it’s a fucking great record. Read LeBrain’s review of Monster here.
Runner up: Jethro Tull’s Ian Anderson – TAAB2 Thick As A Brick 2.
The art of buying and selling used music mainly hinges on two factors: condition, and re-sell value.
Condition can be subjective. Is it slightly scratched? Heavily scratched? Do those minor marks from wiping the CD count as scratches? Our upper management tried to give us consistent guidelines to follow on condition. The customers didn’t always agree, but we tried to be consistent – not an easy task when you have dozens of buyers!
Value, on the other hand, could get very subjective. For example, let’s say the year is 1996. You went out and bought yourself a brand-spankin’ new copy of Live Through This, by Hole. You paid $23.99 for it at your local store. You played it a couple of times and didn’t like it, and they won’t take it back without the receipt. So, you come to see me with a mint condition copy, only played twice. You’re hoping for good money. You paid $23.99, maybe you’d like to cut your losses and get $10 back?
Well, it never worked that way. We’d never pay that much for a single regularly priced CD for many reasons:
If you paid $23.99 for Live Through This by Hole, you still paid way too much, even in 1996. You could have got it cheaper elsewhere.
We have to make a profit on it too. Whatever we pay, we’d generally have to double it to make a profit, after the overhead of running a store are considered.
What if we already had a couple copies, that have been sitting here for a month or two? Do I really need a third to sit there?
These are all factors that came into play.
The next thing the customer would often say was this:
“I’m not looking for my money back, just another CD. Can I just trade this to you, one for one?”
Well, again, no. There’s no profit in that either. I’m just swapping your disc for my disc and not making a dime on the transaction. Essentially, I’d be doing you a favour and that’s all. And chances are, you’d want to trade it for something better than Live Through This!
One time, while having this very same discussion, I explained to a customer why I couldn’t pay him $10 for his CD. “Because that’s what we sell it for, I wouldn’t be making any money on it.” He shrugged and said, “That’s your problem, not mine.” No, it’s your problem, since I won’t be paying you $10 for your disc.
Another reason that people expected more money for a disc was rarity. If something was considered rare, yes, we would generally pay more. But who decides if something is rare?
I remember a guy holding up a copy of Big Game by White Lion, saying, “This CD is worth over $50!” Well, maybe somebody was asking $50 for it somewhere, and maybe somebody was willing to pay that. So yes, to those two people, it’s worth $50. But if you look, you could definitely find it for under $10, guaranteed. Even in 1996. All you had to do is hunt a little. I did, and I got my copy for under $8. It’s a title that was not in demand.
Some things that WERE considered rare:
The Traveling Wilburys – Volume I. We asked $50 for that one. It was out of print for many years. Out of print Bob Dylan is worth a lot more than out of print White Lion!
Metallica – Garage Days Re-Revisited. Also out of print. We asked $50 for that one too, until it was reissued as a part of Garage Inc. Reissues would usually kill the value of an our of print disc.
Some things that were NOT considered rare:
A lot of old soundtracks. Soundtracks were a tricky thing. You might be the only person in town that gives a crap about the Operation Dumbo Drop soundtrack for example. Maybe it’s out of print, and maybe you collect soundtracks, but maybe I already have a copy priced at $5 that has been sitting there half a decade!
We tried to be as fair as possible, but it’s not always easy to see when I’m giving you $4 for a CD that you paid $24 for. You can’t please all the people all the time. Still, it was better than a garage sale!
As I mentioned in an earlier chapter, I had once explored the world of piercings. It was a part of record store culture and I’ve since moved on, but I did make many friends in that world.
One of those friends was Lemon Kurri Klopek, who I also mentioned earlier. Lemon Kurri was the bass player for the Niagara Falls based punk band, The Legendary Klopeks. Through the magic of the internet, Lemon Kurri and I befriended a guy named Sarge, “the best piercer in all of southern England”. Sarge came to visit Canada on a couple of occasions, and in fact helped the Klopeks play their first overseas gigs.
Sometime in the 1990’s, Sarge opened his shop, Metal Fatigue, in Bournermouth. His reputation grew and he became quite successful. “I can’t move in my local rock nightclub for people the shop has pierced, the running joke is about the scrap value in titanium every Saturday night!” said Sarge.
On one of Sarge’s visits, I had the chance to witness his work up close and personal. And not just something standard like an ear or nose piercings, I had the chance to witness a really unusual one.
A local girl had seen Sarge’s clavicle piercing on the internet and was interested. It’s a very unusual piercing that involves going underneath the collarbone. Yes, underneath. There’s a piece of jewelry made of flexible plastic and two metal balls, and that’s how it’s done. Sarge was one of very few people who did it. This girl eventually emailed Sarge about getting one done, not realizing he lived across the ocean. However, Sarge was planning on coming and visiting his Klopek friends that summer. The Canadian could have her clavicle piercing after all.
It was quite a sight to watch. “The clavicle piercing (under the collar bone) is probably my ‘trophy’ piercing now, its really dangerous,” says Sarge. “If I hit anything untoward, someone may die. I have had loads of criticism from various piercers for even thinking about doing one. Saying that, I have now done 8 and they all love them so much! I have stopped doing them now, as we are into unknown territory, watching them heal, working around possible problems with them. So far everything has been hunky dory.”
I still have some pictures from that day. The gentlemen in the photos are Lemon Kurri and Sweet Pepper Klopek, the bassist and singer from the Legendary Klopeks. I have no idea why Sweet Pepper is all bruised in the face. With them was a Scottish chap named T-Bone who took photos. And of course Sarge and his client! And Sarge’s boots.
Sarge, T-Bone, some girl
Sweet Pepper, Lemon Kurri, Sarge & T-Bone
Lemon Kurri & Sweet Pepper
Lemon Kurri & Sweet Pepper
Sweet Pepper & Sarge
clavicle in action
clavicle complete
Sarge’s boots
To get us back onto the subject of music, Sarge tells a great story of some rock encounters in his travels across the pond.
“I met Jon Anderson from the band Yes when I was working at a hotel once! Had a beer with him after work, he was doing some book signing thing, I think I still have his autograph somewhere, he signed a copy of a (Yes cover artist) Rodger Dean art book for me!”
But my favourite story involved his meeting with one of rock’s most notorious frontmen.
The year was 1986. Sarge was out at the bar. Although he had no way of knowing, Philip Lynott from Thin Lizzy had died that day, and the bar was playing his music in tribute to the fallen rock hero. Sarge, however, was not a fan. When he openly criticized the music of Thin Lizzy with some choice words, a large man with “bad teeth, long black hair and a low gruff voice,” told the young Sarge to fuck off. This was Sarge’s first and last meeting with the infamous Lemmy Kilmister!
Cassettes Part IV – LeBrain’s Tapes (What Remains)
I used to have a lot of tapes. So many, that T-Rev converted my closet doors to shelving, just to store my numerous cassettes! It was quite a feat of engineering on his part.
If you’ve read the otherthreeparts of this series on cassettes, then you’ve already seen some of the awesome artwork that T-Rev used to come up with for his tapes. Doing those articles got me nostalgic, but very few of my own tapes remained. A year or two before I met Mrs. LeBrain, I briefly dated this one girl who was getting into hair metal. I had succeeded in replacing most of my tapes on CD (although still incomplete; I need a copy of Live Fast, Die Fast by Wolfsbane, and Phenomenon 1). All my tapes were redundant, and I gave her boxes and boxes full of them.
God knows where those tapes are now. I doubt she took them back home to Thunder Bay when it was all over, they probably ended up in a landfill. No big loss really, the only shame of it is that, like T-Rev, I used to make a lot of my own custom artwork.
Mrs. LeBrain and I were visiting her mom yesterday, and I found some of my old Beatles tapes that I had made, at her place! Her dad drove a delivery van with nothing but a tape deck inside. He was more than happy to receive my old Beatles tapes, and he loved them. And there they were, still at the house, complete with my computer generated J-cards. Nothing elaborate, although I did paste the cover for Abbey Road onto that tape.
This inspired me to dig through some boxes here, and see if I had any of my own tapes left. Surely there must be something here, with some of my own custom cover art! There was just a handful left, stuff that I wouldn’t have parted with at the time, and lo and behold, there was my old artwork. These sure brought back memories!
Back in the early record store days, cassette was my primary medium. They were portable, you could leave them in the car and not worry about them getting banged up, so I recorded everything onto cassette. It wasn’t until I had left the record store in 2006 that I got my first car with a CD deck. Before then, I had one of those adapter kits to play a discman in the car, but it sounded shite. I was glad to find the following treasures tucked away in a box!
Ahh, Spinal Tap. A Spinal Tap Reunion was recorded from a 1992 TV special. Unavailable on DVD today, as far as I know. That’s a shame.
I bought Grande Rock by The Hellacopters on vinyl, to get that bonus track “Angel Dust”. Or, more accurately, one of my record store compatriots got it for me at Orange Monkey Music in Waterloo. I dutifully recorded it to cassette without making elaborate packaging, but I did put some effort into the cassette spine.
You Fat Bastards by Faith No More was the full show that was released on CD in truncated form on the Live at the Brixton Academy CD. This was from a VHS release.
Guns N’ Roses did a couple cool TV specials. I recorded Live at the Ritz off T-Rev, who stuck on some demos for bonus tracks. The cover was made by adapting an old Appetite For Destruction J-card. I think this turned out pretty cool. Invade Paris! was a TV special from 1992.
These two Maiden tapes were from VHS releases. It’s a shame that Raising Hell was never released on a CD. Here’s hoping the band will put that out on a future box set. It was Bruce’s “final” show. I just edited out the crap sections with “magician” Simon Drake. Maiden England is also taken from VHS, but this is the full show. The CD release omitted two songs: “Can I Play With Madness”, and “Hallowed Be Thy Name”. My cassette didn’t! I thought my J-card for Maiden England turned out pretty cool, using an old Seventh Son cover as its basis.
Unfortunately, this is all that remains of my old cassette art. I did some much more elaborate things, which Thunder Bay Girl probably tossed out. One was for Savatage’s Dead Winter Dead. When I recorded that one to cassette, I actually painted the gargoyle onto a J-card. Wish I kept that one. Rush’s Test For Echo may have been the most elaborate one I’ve done. Using some old cardboard and a full-page ad for the album, I created my own digipack for that cassette. It would be nice to still have. Ahh well.
It seems funny, in today’s age of mp3 files and players, that a format as crappy as cassette was anyone’s main format. But there you go. Before I could play CD’s in the car, they were the best way to bring music with me. I’ve always believed a music collection was for showing off as much as listening to, plus I enjoyed making the artwork. I’m glad some still survives today!
One of the weirder items that we used to see regularly were these Russian import discs. Their status as official releases was very questionable, the quality was cheap at best, and the guy that sold them wanted top dollar for them all.
His name was Serge, and he was a Russian model. Seriously. He gave me his business card one time. He was a model, and he had the perfect Fabio hair and everything. On the side, he’d bring CD’s over to Canada from Russia. They would usually come without jewel cases, just the CD and the paper cover art, so he could transport more of them. The discs often ended up terribly scratched because of this. He’d bring over “greatest hits” releases from everybody. Springsteen, Abba, Bon Jovi, even bands that didn’t have greatest hits releases like AC/DC. Often the Russians would throw on “bonus tracks” from live or solo albums.
The guy was a real pain to deal with, and most of the stuff he brought over was obscure European dance, trance, techno stuff that nobody had heard of over here. He’d assume he was going to get a lot of money for them, because they were big in Europe. But if nobody had heard of them in Canada, and they sat on my shelf for a year, no, I’m not paying top dollar for it. So, eventually Serge stopped coming in.
I bought two albums from him that I’ve never played, but bought just “for the collection”. One is a Kiss disc called Hit Collection 2000, the other by Europe, called Best Ballads.
Hit Collection 2000 is on a label called “DJ’s Club”. It does not have the official Kiss logo, just a poor attempt to copy it. There are some spelling errors on the back — I don’t know where “Detrot Rock City” is. The tracklist itself is pretty weird, containing newer songs like “Psycho Circus” and “I Finally Found My Way”, along with one track from each of the four Kiss solo albums. There are three songs from Dynasty, and three rare live cuts from the Psycho Circus Live Australian disc. This one came sealed but I didn’t even bother to open it. Even Serge’s sealed discs often ended up scratched to pieces, I don’t know how that happens because these are clearly factory sealed.
The Europe album, Best Ballads, is notable for not depicting keyboardist Mic Michaeli on the front cover, even though he plays on the majority of songs. The album contains ballads from Europe’s first monumental self-titled disc through to 1991’s Prisoners In Paradise. The Russians picked some cool songs this time: “Words of Wisdom” and “The King Will Return”, from the first album, “Dreamer” from Wings of Tomorrow, and “Coast To Coast” from Out of This World. As usual there are three “bonus tracks”; “Under the Influence”, “Lord of the Manor”, and “Elsewhere” from Joey Tempest’s 1995 solo album A Place to Call Home. Not that you would know this from the liner notes, since there are none. Just a paper sleeve.
In the end I don’t think we missed Serge when he decided not to deal with us anymore. A lot of his product sat on the shelves. In fact I tried selling my Kiss Hit Collection CD back to the store last year, and they refused to take it. Lesson learned!
RECORD STORE TALES Part 152: Carnival of Lost Souls
The Year: 1996
The Place: Dr. Disc, Hamilton Ontario
The Guilty Party: Me
Remember when the original Kiss reunited back in ’96? It was a huge deal. Everybody was talking about it. What very few people were talking about was the studio album that the previous Kiss lineup (with Eric Singer and Bruce Kulick) had completed prior to the reunion. That album, Carnival of Souls, was shelved to avoid confusion.
It was, however, leaked. Or, at least most of it was. It revealed a new, grungier Kiss ready to take on the likes of Alice in Chains and Soundgarden. Not a bad album in fact, and some songs such as “Hate” and “In My Head” were downright vicious. A buddy of mine, Len Labelle, hooked me up with a poor-sounding cassette. It was better than nothing.
Both Gene and Paul pooh-poohed the idea of a release. You’d read things like, “We don’t know when it’s coming out,” or “We have no plans to release it right now.” But I was digging that tape and I wanted a CD, dammit!
T-Rev, Tom and myself were at a record show in Hamilton, and we stopped at a local Dr. Disc. I went over to the Kiss section. I saw two discs, both at $30 staring me in the face: the ultra rare Japanese import Chikara, a greatest hits album, and a bootleg copy of Carnival of Souls…
I had a limited budget and could only buy one. I chose Carnival of Souls. I’ve never seen a copy of Chikara again. And Kiss officially issued Carnival 9 months later, rendering my bootleg obselete. I can’t give it away, today.
It was a bad call, Ripley! Bad call!
So what about this bootleg that I bought? Well, it has a few notable features.
The title is wrong. The title on the bootleg is Carnival of Lost Souls.
The wrong lineup is on the front and back covers. They show the original Kiss, in makeup.
Even though it says it’s “the complete 11 track version” on the front cover, Carnival of Souls has 12 tracks. Missing is “I Walk Alone”, the lone Bruce Kulick lead vocal.
The songs are in the wrong order, and most have the wrong titles.
For example:
“Hate” = “Hate (Is What I Am)”
“Master & Slave” = “Tell Me”
“Rain” = “I Think It’s Gonna Rain (Down On Me)”
“It Never Goes Away” = “It Never Ends”
“In the Mirror” = “(Take A Look) In the Mirror”
“I Confess” = “You Confess”
At best, this is now just a weird oddity that sits in my closet, unlistened to, unwanted, unloved, for the rest of eternity. There’s $30 I’ll never get back again. Yeah, like I said, it was a bad call!
mikeladano.com 