TWISTED SISTER – “We’re Not Gonna Take It” (1984 Atlantic single)
I’ll skip the formalities, and I won’t be discussing the single A-side. What is understood need not be discussed. On the off chance that you spent your youth in Antarctica, here’s the very clever and original music video (later ripped off by Michael Jackson for his own “Black or White”).
The B-sides are three of Twisted’s all time best, recorded live, and unreleased on CD to date. All three are classics from YouCan’t Stop Rock ‘N’ Roll: “The Kids are Back”, “We’re Gonna Make It”, and the album’s title track. These were recorded live in Poughkeepsie, New York. Although it seems odd, Dee’s usual spoken opening, “We are Twisted fuckin’ Sister” skipped the expletive. I’m not sure if it’s edited out or not, for the release of this single.
As far as a single side of Twisted onslaught goes, I don’t know if you could have selected three better songs. The performances are typical live Sister; fast and reckless. In other words, perfect. The live tracks were co-produced by bassist Mark “The Animal” Mendoza so you know that the band at least had their hands in the mix, too.
Another cool fact: neither “The Kids are Back” nor “We’re Gonna Make It” are on the Live at the Marquee CD, minimizing overlap with that later release. They were recorded within the same time frame, so the band is in similar ferocious shape to that great live album.
FIGHT – Mutations (1994 Epic collector’s edition, 2008 Metal God Entertainment reissue)
Released in late 1994, Mutations (subtitled “collector’s edition“, which really means nothing) was a live/remix CD to follow War of Words. I seem to remember this being marketed as some sort of “extended EP” or some kind of not-album, which again is kind of meaningless. The original release was 45 minutes, a full length album by most measures.
Live Fight! Shame it was only four songs, as they absolutely kick ass. Rob Halford was still in peak voice in 1994, and every high scream is present on opener “Into the Pit”. Fight as a live band were less stiff than on the first album. They were no less precise, and each song is just as ferocious as its album counterpart. On “Nailed to the Gun”, bassist Jay Jay does the low death metal growls while Rob howls like a mad dog.
I was surprised that Rob put “Freewheel Burning” on the album, as he seemed to be trying to distance himself from his past at this time. Its the only Priest song and I don’t think they played many Priest songs on the tour at all (but I know they did cover Sabbath’s “Sweet Leaf”). Surprisingly it’s here that Rob’s voice falters, struggling with the demanding song. He redeems himself on the bluesy single “Little Crazy”.
I enjoy hearing live recordings from bands with two distinct lead guitar players trading off. Russ Parrish and Brian Tilse were both very different stylistically, and the contrast is awesome. The pace is aggressive, and these guys keep chugging on. (Note: Russ Parrish is not credited on this album. He had left the band by the time of release, but there is no question that he did play on all these tracks. Why he was not credited is a mystery, but he does appear on the remastered version cover art.)
I believe I am well on record as not being a fan of remixes in general. There are exceptions but so many remixes add techno-crapola that often serves to reduce the songs to repetitive mockeries of themselves. On a track like “War of Words” , they remove Scott Travis’ drums from sections, and replace him electronic beats. At the time I thought, “Why would you want to replace Scott Travis with a drum machine?” Today, it still bugs me. But hey, those who doubted the sincerity of Rob’s industrial work with Trent Reznor in Two should remember these remixes!
I’ll be honest, I struggle getting through the remix side in one sitting. There are some cool moments, such as the chance to hear isolated instruments and solos. “Vicious” is an example of a remix that works for me. It’s weird, it has an opera singer and dance beats added, but it’s pretty heavy and cool. But in general, the Fight songs were simple and repetitive to begin with. Making them simpler and more repetitive didn’t work for me. Sure, I own some Nine Inch Nails albums, but this sound isn’t where my heart lies.
Goodie-goodie-gosh, Mutations was reissued as part of the Into the Pit box set, with two bonus tracks. And these bonus tracks are (you guessed it) remixes. More versions of “Kill It” and “War of Words”. At least the “Culture of Corruption Mix” of “War of Words” is about half as long as the regular “Bloody Tongue Mix”.
Incidentally, why do remixes always have cliche sounding names? “Bloody Tongue Mix”! Raahhrr! Why not…”Toothpaste Mix”. Something original. I think remixers should strive to be more original in the naming of their work. Something nobody’s used yet. “I’m Rob Halford and I Endorsed This Mix Mix”.
This review dedicated to the greatUncle Meat. Part 1 of a 2 part series!
MARILLION – Early Stages (Official Bootleg Box Set 1982-1987) (EMI)
This is the first of two Marillion Official Bootleg box sets. The second covers the Hogarth years 1990-1994. Mine came with an autographed print!
I listened to this box again over the course of a week. I chose the car as the setting. I’ve spent a lot of time driving to Marillion in the past (lots of great memories) so this setting works for me. I enjoy loading long box sets onto my car MP3 player. I did that recently with the 12 CD Deep Purple Bootleg Series box set. As soon as I was done with that one, I dove into Early Stages.
I also acquired the recent compilation Early Stages: The Highlights. Why, you ask? Well, like many “highlights” packages, they usually stick on one exclusive song to get you to buy the same thing twice. The bait is “Market Square Heroes” Fife Aid 1988, the final song of the final show with Fish. OK, I’ll bite.
I don’t have a lot to say specifically about any of the concerts included in this box set. There are a lot of songs from periods before they were recorded on albums, and that’s cool. There are four different drummers on this set*, representing the rarely documented transitional periods in Marillion’s lineup. The discs are all of great sonic quality considering the years they were recorded. Fish is a great frontman, usually funny but occasionally serious, and always entertaining.
Here are some observations about some of the set’s highlights. From The Mayfair, Glasgow, 1982: “He Knows You Know” is not quite as slick as we’re used to, a little tentative, but no less powerful. An early version of “She Chameleon” is quite different musically from what it would become, although the lyrics are mostly in place.
When you get to the Marquee show (December of ’82), Fish is especially talkative and sentimental. The gem here is obviously “Grendel”, a song which never ceases to amaze me. Fish’s expressive voice has me hook, line and sinker. You’ll be treated to the complete workout of “Grendel” again in 1983 (Reading). The 1984 Hammersmith concert has emotional classics like “Jigsaw” and “Cinderella Search”. The real treat is an early version of the first track for the forthcoming album Misplaced Childhood; a track Fish calls “Side One”. It’s an early version, the lyrics still not all the way there, and it’s missing the entire “Lavender” section. But you can hear the shape of things to come.
Hey Uncle Meat! Who’s your favourite lyricist?
The box set closes with a late period show, and a big one: Wembley, 1987. A good chunk of Misplaced Childhood (all of Side One) and Clutching at Straws are presented. There are only a couple oldies: “Fugazi” and “Incubus”. This is a slicker, more commercial-sounding band, much more skilled at writing complicated yet catchy music.
Of note: there are a whopping 15 pages full of liners notes by one Derek W. Dick, aka Fish, and new cover art by Mark Wilkinson! If that doesn’t sell this set, then nothing will.
5/5 stars
* Mick Pointer, John Martyr, Andy Ward, and Ian Mosely. Only Jonathan Mover is not heard on this, although he is on the 6 CD Curtain Call box set.
CRAZY HEART Original Motion Picture Soundtrack (2010 NewWest)
Produced by T Bone Burnett and Stephen Bruton
I grew up on this kind of music. I remember long drives to the cottage, singing away to the hits by Hank Jr., Hank Sr., Johnny, Willie, and Waylon…all those great artists. So to hear Jeff Bridges perform his character Bad Blake’s songs on this soundtrack is already in the ballpark of music I love. The great thing about this soundtrack is that it’s loaded with awesome original tunage such as “Fallin’ & Flying'” and “The Weary Kind”, but it also has great oldies by Townes, Buck and Waylon. There’s even a classic Lightnin’ Hopkins blues.
Buck Owens’ “Hello Trouble” (1964) is lyrically as apt as ever. Townes Van Zandt’s “If I Needed You” (1972) is laden with emotion within an inventive dual-track lead vocal. But it’s “Once A Gambler” by Hopkins that I am spellbound by. It’s shocking how vibrant this old recording is, and it’s gotta be 50 years old. Much like the singer’s name, the playing, singing and song itself are electrifying. You couldn’t record this better today with all the computers in the world.
Meanwhile, Jeff’s performance on “Somebody Else” is more rock n’ roll; this is an original tune by T Bone Burnett and Stephen Bruton. It has a live sound to it. Bridges’ lead vocal edges into nasal territory, but the dude was 61 years old at the time. Another new tune, “I Don’t Know” by Ryan Bingham is firmly in 80’s Steve Earle territory, and that’s fine by me.
I saw Crazy Heart and I thought they did a fairly credible job, but I very rarely like it when Hollywood types do these types of films. Leave the singing to the singers (I’m looking at you, Gwenyth Paltrow!). Still, this Bridges/Ferrell track is roadhouse-worthy.
Sure, in some cases I would agree with that. Nobody needed Eddie Murphy to make an album for example. In the case of “Fallin’ & Flyin'”, I really like this track. It was written to suit Jeff’s leathery but expressive singing voice. Jeff Bridges is no slouch; I’m sure Kris Kristofferson taught him a few tricks when they jammed behind the scenes during Heaven’s Gate. Jeff’s slant on “I Don’t Know” is more country than Bingham’s and features piano and squeezebox. I believe I am well on record for being a fan of the Dude in the first place.
There’s only one tune I didn’t like, which is “Reflecting Light” by Sam Phillips (2004). Sorry Sam. It’s not you; it’s me.
My only regret is picking up the single disc version before I knew there was a double disc with even more tunes. At some point in the future I’ll trade up. I got this used, at Encore Records, so not a huge expense (I paid $10) and I can always trade up.
I don’t like Linkin Park too much, but Mrs. LeBrain does so I’ve heard a lot of their albums. I did like their singer Chester Bennington, I thought he had amazing pipes. It was more the rapping and the samples I didn’t like. I always kind of wished Chester was in a band that I liked.
I do like Stone Temple Pilots though, and “Out of Time” sounds like Stone Temple Pilots! It sounds like the young STP, when Weiland could really wail. I don’t think I’m alone in saying that Scott’s voice is simply not what it once was, but Chester is in his prime. And the song is great! Solid riff, powerful sound. If it lacks any of Scott’s swagger, the track makes up for it with Chester’s lungs. It’s just great to hear Eric Kretz and Robert & Dean DeLeo rocking behind such a strong song. Album and a tour? Sure. My interest is peaked.
Part 1 of a miniseries on Rob Halford’s solo career!
FIGHT – War of Words (1993 Sony)
I was devastated when Rob Halford left Priest. I was so heavily invested emotionally in the excellent Painkiller album, I couldn’t believe it was over! Last I had heard, the band were going to be working on two new songs for a greatest hits album (Metal Works) and then Rob would take a break to do a solo album. Instead, the band split completely! Halford and drummer extraordinaire Scott Travis formed Fight with guitarists Russ Parish and Brian Tilse, and the bass player from hell, Jay Jay. (Today, Parish goes by the name “Satchel” when he plays with Steel Panther!) Regarding Jay Jay, Halford says that he did a number of Rob’s own tattoos. Rob figured if he could play bass as well he he tattooed, he was in. Jay Jay also does the grunt-metal backing vocals.
The resulting album, War of Words, is a Pantera-esque thrash-fest, one of the heaviest things Rob had ever done (until Halford’s Crucible album), undeniable brutal, scream-laden, and punishing from start to finish. Halford had cleverly assembled two shredding guitar players with differing styles too: Tilse specialized in the noisy speedy solos, while Parrish played the more melodic and traditional speedy solos! War of Words is solo nirvana for fans of Rob and Priest. And Rob wrote every single song by himself.
The twin openers, “Into the Pit” and “Nailed to the Gun”, are two of a kind: they are rip-yer-head-off thrashers with Rob’s patented glass-breaking screams. The song structures on War of Words are simpler than what we heard with Priest, no doubt since Rob composed the songs by himself. This simplicity serves to make the album feel even heavier and more relentless.
The lyrics, just as simple and aggressive. “Into the Pit” doesn’t feature much in the way of poetry:
Conspiring, for sation Malfeasance, on high Obstruction, of duty Disorder, will rise
Rob takes the pace back a bit on the third track, “Life in Black” which I don’t think you can fairly call a ballad, to me it’s more Dio-era Sabbath with a very vintage-Dio sounding solo. (Rob had just helped out Sabbath live after Dio left, singing lead for two shows while opening for Ozzy Osbourne.) Meanwhile “Immortal Sin” bears a slow groove with a melodic chorus, downtuned but a bright spot in the proceedings.
The title track opens with the American First Amendment (Rob was living in Phoenix). It’s another aural assault with Rob keeping his vocals in the upper register. Travis’ incredible drumming punctuates every venomous word. Considering that less than three years prior, Rob (with Priest) was in court defending his band during the infamous “suicide trial”, the words are apt.
Dream Deceivers, directed by David Van Taylor, the excellent documentary on the Judas Priest trial
It’s back to dark haunting territory next: “Laid to Rest” ended the first side of the album. I find this one to contain one of Rob’s best vocal performances of the album. It’s reminiscent of “A Touch of Evil” by Priest, but downtuned and slightly exotic.
Side Two’s opener, “For All Eternity” is really the final reprieve. It is most definitely a power ballad in vintage Priest vibe, but again with the modern downtuned guitars. A song like this really proved Rob’s songwriting chops. He’s capable of writing emotive, catchy powerful music completely on his own, and the song is an achievement. The bridge around 2:25 is just awesomeness, but Tilse’s guitar solo completes the picture. As if that wasn’t enough, Rob returns to full on scream mode for the end.
“Little Crazy” was a critically acclaimed heavy metal blues, and the second single/video. I’m struggling to describe it beyond “heavy metal blues”, but this song is definitely a highlight. Rob puts everything he has into the slinky lead vocal, while band fuse the blues feel with heavy metal’s precision. I recall reviews of the time saying, “If Rob wanted to drop metal and go full-on blues, he could.” Now that would be interesting.
The rest of the album is no-holds-barred. The triple threat of “Contortion”, “Kill It”, and “Vicious” is almost too much. Each song strips everything down to the basics: simple riffs, violent words, relentless drums, without much in terms of melody. This is the most difficult part of the album to penetrate. In time the three songs grow. “Contortion” protests what we are doing to the Earth with angry frustration. “Kill It” is about TV preachers (whom I’m sure had their opinions on Priest during the trial). “Vicious” was always my favourite of the trio:
You cheating, lying, mother-fucking son of a bitch..
Vicious, vicious, Fucker, fucker!
I was going through an angry phase at the time!
Rob saved the best track for last. “Reality: A New Beginning” is a weighty epic, a perfect closer, slightly exotic and successfully combining Fight’s heavy side with Rob’s ability to write great melodies. This is simply an incredible song, a jewel in Halford’s crown, and a song which definitely deserves another look. The lyrics seem to be autobiographical:
This time, when I’m leaving, Who cares where I’ll go?
There was a hidden CD bonus track (not on cassette) after a five minute silence, a jokey song called “Jesus Saves”. Rob’s voice is electronically manipulated to sound…well, not sure what he’s supposed to sound like. An angry elf, I guess.
4.75/5 stars
There are some supplementary releases available:
1. This one is on my wishlist, I don’t own a physical copy: In 1994 Fight released a Christmas CD single called “Christmas Ride” with a message from Rob! They later reissued this as a free download from Rob’s site, but that is no longer around.
2. The live/remix EP, Mutations (next up in this series of reviews).
3. In 2007, a demo album called K5: The War of Words Demos was released. This featured demo versions of most of the album, plus five more. These include four new songs, and “Psycho Suicide” which was later remade for the second Fight album, A Small Deadly Space. The demos reveal that a much more conventional-sounding metal album was initially planned. (“The Beast Denies” is a very different version of “Reality: A New Beginning”.)
4. The 2008 Fight box set Into the Pit contains remixed versions of War of Words (again without “Jesus Saves”) and A Small Deadly Space. But the cool thing it contains is a DVD, Fight Live In Phoenix. The band rips through the entire album, in sequence (no “Jesus Saves”!) and then Rob’s solo track, “Light Comes Out of Black” (from the Buffy the Vampire Slayer movie soundtrack).
5. Buffy the Vampire Slayer original motion picture soundtrack. This is the only place you can get the studio version of “Light Comes Out of Black”, featuring his backing band…Pantera. All of Pantera.
I like “Light Comes Out of Black”, but it’s a lot easier to swallow than Fight is on first listen. I remember a M.E.A.T Magazine interview with Glenn Tipton and KK Downing, where they trashed it. “If it were on Painkiller, it would be one of the weaker songs, if not the weakest,” said KK.
KK might have been right about that to a certain extent, but only because Painkiller consists of 10 awesome songs!
In many ways, Wings of Tomorrow is the perfect Europe album. It combines their early grand metallic leanings with the keyboards and anthemic sheen they would later become known for. Like the first Europe album, it’s loaded with hard rockers, the odd ballad, and an instrumental guitar workout. The same lineup from the last album was intact, with the major difference being Joey Tempest adding more keyboards to the mix.
The opener “Stormwind” is a great hard rock/metal tune, with a memorable chorus, riff, plus a tricky sounding solo from virtuoso John Norum. Second up is the ferocious “Scream of Anger”, featuring Norum playing the heavily distorted riff through a talk box. This is a solid burner, scorched-Earth policy firmly in place, taking no prisoners. Tempest wrote this song with Yngwie Malmsteen bassist Marcel Jacob.
The best known song on the album is “Open Your Heart”, which a later lineup of the band re-recorded for the underrated Out of This World record. I prefer the re-recorded version, because it includes an additional guitar part, really cool and catchy, immediately after the acoustic intro. The original version is still a great song though, a power ballad, and probably the first great Europe power ballad.
The angry prowler, “Treated Bad Again”, takes us back into metal territory. This predatory number would have fit in perfectly on something like a mid-period Judas Priest album. Then, as on the debut album, John Norum ends Side 1 with an instrumental. This one is called “Aphasia”, which refers to a medical condition that can render sufferers unable to speak. Get it?
Side 2 opened with an assaulting metal riff, on the album’s title track. It’s a jagged riff that juxtaposes nicely with Joey’s smooth voice. “Wasted Time” sounds like the aforementioned Yngwie at first, just because of the riff, but then it begins to gallop into Diamond Head style chorus. The guitar solo is shredder’s envy. “Lyin’ Eyes” maintains the momentum.
All this sets the stage for the penultimate song, and possibly the best ballad Europe ever recorded: “Dreamer”. It’s a piano power ballad, without the saccharine overload of songs like “Carrie”. This one’s just a classic ballad, much like you’d find on the first Europe album, but refined a bit.
Wings of Tomorrow closes with the reckless pace of “Dance the Night Away”, which sounds nothing like what its title implies. It’s a simple metal song, fast burning riff, and plenty of solos. It’s a shame the guitar wasn’t mixed in heavier. You get the impression that this album would have sounded so much harder live.
I don’t know if anybody could have predicted the massive success of the next album, The Final Countdown, after labouring in obscurity for two records. But success did come, and these early albums are a memento of a time before Joey Tempest wrote “hits”.
HOT LEG – Red Light Fever (2009 Barbecue Rock Records)
It was a dark time for rock and roll. The Darkness had split into two factions: The Stone Gods, and Justin Hawkins’ Hot Leg. The Gods were out of the gates with their album first in 2008, while Justin followed in 2009 with Red Light Fever. Bizarrely, he credits himself as Justin “Dave” Hawkins in Hot Leg.
The Stone Gods made an excellent album, concentrating on rock and metal sounds. Justin, on the other hand, has synthesized everything he does into one gestalt on Red Light Fever. There are still those cherished AC/DC-like moments that you may remember from Permission To Land (Hawkins even uses the lyric “permission to land” on one song) mixed with those operatic high vocals, taken to new levels of absurdity (“Chickens”). This is mixed with the polished Queen-like moments from the second Darkness album, One Way Ticket…, and the 80’s “keytar” sounds of his solo project British Whale. The result is, quite frankly, an album only Darkness fans will like.
I am a Darkness fan, and I do like it. The album kicks off with the aforementioned “Chickens”, which at first tricks you into thinking Hawkins has gone back to basics. Then the operatic chorus in full falsetto hits, and you realize that Hawkins is just as outrageous as ever.
“You Can’t Hurt Me Anymore”, the second track, reminds you that Hawkins is still one hell of a guitar player. Coming up right down the middle between Thin Lizzy and Brian May harmonies, it is Justin’s guitar work that keeps this band most anchored in rock. The aptly titled “Trojan Guitar” is a cool workout, multi-faceted and complex.
By the time you get to the single, “Cocktails”, you will wonder just how Hawkins crammed so many notes into a word with just two syllables. Many will find this to be simply too much, like coffee with too much sweetener, or a cake with nothing but icing. It’s a great song, with that Def Darkness vibe that I like so much, but the chorus is ridiculous!
“Gay in the 80s” is the most British Whale of the tracks, keytar up front and in your face, and Justin’s lyrics embracing the kitsch of that decade. Not a track for insecure rockers by any stretch. Yet “Whichever Way You Wanna Give It” is the most reminiscent of early Darkness. It has that “I Believe In A Thing Called Love” vibe, with a chorus straight out of One Way Ticket…, and some solid guitar riffs with ample space between the power chords.
The album ends a mere 35 minutes after it began, which some will find absolutely offensive after spending close to $30 (Canadian) on this import. However, if you wanted more, the band used to offer a vintage-Darkness sounding bonus track called “Take Take Take” on their website for free. Unfortunately with the band now defunct, the song has been taken down. Another free song, a bouncy upbeat number called “Heroes”, was available for a limited time only.
According to the inside notes, the album is to be filed under “Man-Rock”.
For the last installment of this series, click here.
WHITESNAKE – Good to Be Bad (2008 Warner/SPV)
Whitesnake disbanded in 1990. Coverdale did his album with Jimmy Page, but that didn’t prove to last either. Although they’d started writing for a second album, the affair ended and David Coverdale assembled a new Whitesnake for a Greatest Hits tour in 1994. This reformation eventually led to an album in 1997 called Restless Heart (billed as “David Coverdale and Whitesnake”. This R&B flavoured album, a personal favourite, did not resonate with some fans of 80’s ‘Snake.
After another hiatus, and a solo album (2000’s Into the Light), David once again formed a new group of ‘Snakes, a mixture of old and new members. After several years of touring (and lineup changes), the long awaited new Whitesnake album, Good to Be Bad, hit the shelves in 2008. Former Dio guitarist Doug Aldrich and Winger’s Reb Beach had been a formidable guitar duo since 2002.
Similarly to his partnership with Adrian Vandenberg, David has retained his writing style of co-writing with just one co-writer; in this case, Aldrich. It seems to be evident that the guys have gone for a John Sykes guitar sound and style. You can certainly hear a lot of trademark sounds and tricks that Sykes used to do, that gave the 1987 album such a cool sound. This isn’t to say that they don’t play plenty of their own style too, but the retro stuff is frequent.
So similar is the direction of this album to 1987, that you can play “name that tune” with all the new songs:
“Can You Hear The Wind Blow” for example directly references moments on 1987, right down to those flares that Sykes used to do. “All I Want, All I Need” equals “Is This Love” Part Deux. Basically, every song on Good To Be Bad is a mash-up of songs from Coverdale Page, 1987 and Slip Of The Tongue, and you can hear the references quite distinctly. “A Fool in Love” is “Crying in the Rain”. “Lay Down Your Love” is “Shake My Tree”, without Jimmy Page. Throw in a little “Kashmir” during “‘Til The End Of Time” (which seems to be based off “Till The Day I Die” from Come An’ Get It) too.
Having said that, despite the lack of originality, Good To Be Bad is still a very enjoyable listen, and a very welcome return. A world without David Coverdale’s voice is like a world without crème brûlée. That voice is in fine form, perhaps even stronger than it was on 1997’s Restless Heart. The album has a lot more life to it than Restless Heart, although it does lack that album’s subtlety and R&B moments. The band play great, kicking it on every tune, even the ballads. The melodies are strong and memorable. It’s just…too contrived.
The bonus live disc is the the Canadian special edition is highlights from Live: In The Shadow Of The Blues. No big deal. It’s nice to hear Whitesnake playing “Burn/Stormbringer” from David’s Deep Purple days, and cool to hear the old 70’s classics.
The real cool version to have is the Japanese release with two bonus tracks. And a sticker! Can’t forget the sticker. The bonus tracks are both remixes (a “Doug solo” version of “All For Love”, and a stripped down version of the lovely “Summer Rain”). For $20, I wasn’t complaining.
In Part 117, we talked about promo CDs: How to identify them, what they were, what they’re worth. A short while ago, Statham and I were having a conversation about promo discs. The conversation began in regards to one of my treasured rarities, a King’s X promo CD for their 1994 single, “Pillow”, from the Dogman CD.
Even though eBay (supposedly) have strict policies against selling promo discs, I just found one as I was writing this, identical to mine, on sale for $46.99 USD. It even says “Promo Copy – Not For Sale” in clear writing on the back cover, in the eBay photo! Somebody at eBay is asleep at the wheel.
I got mine for free, a decade ago!
This one found its way into our warehouse, probably via a liquidation. The warehouse manager knew we couldn’t sell it, not with that big inscription on the back, so he gave it to me, knowing I was a huge fan. As I explained to Statham:
LeBrain: We weren’t legally allowed to sell promos, at least ones that were obviously identifiable as promos, in the store. We’d been caught once when one hit the shelves .Even if I bought this CD from you for $5, I technically couldn’t sell it in store. We could have asked $20 for it easily, because of the unreleased tracks. Those weren’t on anything else.
Statham: So even on the dark days, the ones you HATED about being there, there were then moments like your getting this CD that made it OK again!
LeBrain:Yes! Although I had to keep them secret…Our warehouse manager would slide them my way, on the condition that I don’t tell. Don’t know what they would have done with them otherwise, besides throw them out. That would have been a shame. [I think the statute of limitations has expired on my promise not to tell!] We paid money for these promos though, we got nothing for free. Everything we sold was purchased from somebody else, be it a wholesaler or an individual.
Statham:Right, but all of that is pre-killed by the writing all over the promos prohibiting their sale. So there never was a [legal] leg to stand on, with those. But nobody ever reads those warnings anymore. The Interpol warning at the start of a DVD? Just something else to skip. Part of the scenery. Surely we can ignore that, right?
LeBrain: Yeah exactly. Every other store in town had promos on their shelves too. And they weren’t as discerning as we were, they’d sell anything. [But] you’re right, we didn’t have a leg to stand on. I guess in the long run it meant that I could get stuff like this for free.
Statham: Even as recently as last year, I bought a promo single from there [LeBrain’s old workplace]. So apparently things still slip through the cracks!
LeBrain:I’m sure they do. After all, it was over 10 years ago that we received a warning about selling promos. I don’t know who tattled on us, but it always struck me as unfair. We PAID for those promos. We got NOTHING for free! And I would never buy or sell a promo in the store that didn’t have something worthwhile on it, like bonus tracks of some kind. It had to have some kind of value.
And so it goes. I have a lot of promo discs from those days, stuff that you technically couldn’t buy in stores, stuff that guys at record shows routinely ask $20 for. eBay prices? Double that. Some of them are worthless, one track promo singles with no cover and no real value. Others have exclusive live tracks, like this King’s X single we’re about to discuss.
KING’S X – “Pillow” (promotional CD single, 1994 WEA)
“Pillow” was released as a single in mid-1994, and promptly went nowhere. That’s too bad, as it’s a great song, heavy and slow, fitting right in with the grunge movement that was still dominating the charts. King’s X trademark harmony vocals by Ty Tabor can be heard during the chorus, under Doug Pinnick’s soulful lead. Doug’s 8-string bass chimes while drummer Jerry Gaskill sets the groove. This track, one of the standouts from the Dogman album, simply crushes.
The two B-sides are live, recorded in Dallas on May 8, 1994. “Shoes” is another great Dogman track. What is especially cool is how great King’s X harmonies sound live! This track proves they have the goods, but the Texas crowd is more than happy to take over the vocal chores. They clearly knew the new songs backwards and forwards.
The second B-side is the complex “We Were Born To Be Loved” from the landmark Faith Hope Love album. “I like a crowd that makes a lot of noise,” says Doug, before the band tear into the intricate rhythms and harmonies involved with this rocker. It’s another Doug lead vocal, with Ty and Jerry on the harmonies. Knowing how great King’s X are, I’m sure this truly is live — no backing tapes or overdubs.
There’s not much in the way of artwork; just a sticker on the front of the case and a pretty plain white back cover. Stickers don’t age too well, as the gooey sticky stuff starts to seep through the paper. Plus if you crack that front cover, you’re screwed.
Since this single was released, both these recordings have seen the light of day on an album, called Live & Live Some More, from 2007. While that sort of destroys the collector’s value for a single such as this, it doesn’t change the fact that these songs are awesome!
I believe I am well on record as not being a fan of remixes in general. There 
I’ll be honest, I struggle getting through the remix side in one sitting. There are some cool moments, such as the chance to hear isolated instruments and solos. “Vicious” is an example of a remix that works for me. It’s weird, it has an opera singer and dance beats added, but it’s pretty heavy and cool. But in general, the Fight songs were simple and repetitive to begin with. Making them simpler and more repetitive didn’t work for me. Sure, I own some Nine Inch Nails albums, but this sound isn’t where my heart lies.
EUROPE – Wings of Tomorrow (1984 Epic)
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