Dusted off (and changed cruddy batteries) on our old plug & play arcade games this weekend. Pac-Man was first up, and two rare variations at that: Super Pac-Man (my favourite) and Pac-Man Plus, a challenging variant of the original. Check out my first runs through below. This weekend also included some Galaga, Dig Dug, Ms. Pac-Man and Pole Position. Is there a game of these you would like to see next?
F-bombs included below!
LIVE – “Heaven” (2003 Universal CD single)
If the goal is to review “everything” in the collection, then we must dig deep. Sometimes you find things that you forgot you owned. Things you have not listened to in 19 years. Things you bought “for the collection” because they were cheap (staff discount). This single would have cost me about two bucks. Live were a good band once; Throwing Copper was a 90s staple. I remember giving the Birds of Pray album some store play, and I think it might have been OK but obviously I didn’t feel it enough to buy it or I’d still have it today.
Let’s check out the two track “Heaven” CD single, without remembering a single thing about it.
The opening vocals on “Heaven” are an immediate turn off. Nasal-y and annoying. The chorus is pretty good, lots of crunchy guitars, but it almost sounds like a parody of this kind of 90s rock. The production is excellent though; the drums really slam and the guitars cut through. This song gets a passing grade though it’s nothing special and the lyrics are kinda irritating.
I don’t need no one, to tell me about Heaven
I look at my daughter, and I believe
I don’t need no proof
When it comes to God and truth
I can see the sunset and I perceive, yeah
I liked when Live used to sing about living in a “Shit Towne”, but this is little too much limburger. Indeed, they did call the album Birds of Pray….
The B-side is a track called “Forever Might Not Be Long Enough”, and this is the “Egyptian Dreams Mix” of said song. Hard pass. The exotic loops that open are cool but then the dance beats kick in. No idea what the original sounded like and I have to wonder if I have ever played this CD before or if this is the first time.
Back on the shelf!
2/5 stars
Happy birthday, big guy!
Dear Bob,
I know we don’t get to talk much anymore. I think the last time I saw you was at a funeral. We both have our own lives now. You have four kids to raise, and I have a Jen to take care of and cherish. While we have separate journeys now, I will always remember and treasure our shared origins. We were the lucky few to grow up on a very special street in a neighbourhood like no other.
Some of my earliest memories are of us playing in the front yard. You were two years older but at that young age it hardly mattered. All that mattered were our adventures. It started with dinky cars, Lego and plastic swords. Do you remember building little garages for our cars? I do. You showed me how. A few twigs stuck into the ground covered with a grass roof, and we had multi-car garages right in the front lawn.
You taught me how to improvise our fun. With cardboard boxes, we constructed a Cloud City for my Star Wars guys to play around in. Do you remember showing me how to make little sliding pocket doors? Or how about that board game we came up with on our own? It was huge! How many of my mom’s shoeboxes did we cut up to make that? We used my Army Men for the pieces. We constructed traps for them, that could you trigger with the pull of a thread. Mom eventually said “No more shoeboxes!”
I could go on, and on, and on about how we created our own worlds to live in. The drawings, a huge binder of which I still have! We designed our own video game. We wanted to submit it to Atari. Then, when my family got a computer, we discovered a new world: word processing! No more pen and paper; now we could really come up with stories. The program was called IBM Writer’s Assistant and we pushed the limits of what we could achieve. We co-wrote the Adventures of Comet-tron, though it was your idea. I even sold copies of our “book” at a garage sale. 25 cents each, and there were two issues!
Building obstacle courses in the back yard. Improvising audio equipment with little more than a few wires and black electrical tape. Riding our bikes, exploring the trails. Renting horror movies and pausing to see fake rubber props. Writing down the rules to our own invented version of street volleyball. These are all things I did with my best friend. If I didn’t have you, do you think “Double Bounce Volleyball” ever would have been conceived, much less documented with actual rules? Chances are high that the only reason I owned a volleyball was because you had one first.
It’s funny that you studied architecture later in life, because I remember us sitting down with pencils and designing our future houses. In our blueprints, we still lived on the same street. We bulldozed all the other houses, and added on to our own (things like swimming pools and helipads and secret tunnels and overhead bridges). We put new houses for our families to live in, while our original homes were connected by an enclosed bridge so we could hang out without even having to go out!
As your interests changed, so did mine. Where you led I was eager to follow. Music was next. Do you realize how lucky I was to have you and other older kids around the neighbourhood? While my classmates were listening to music they’d be embarrassed by in six months, you guys had discovered Van Halen.
Do you remember our front porch listening sessions? One of us would plug in the stereo, and somebody else would bring over the Van Halen.
“Van Halen!?” said my dad as he came home from work. “Sounds like some kind of tropical disease!”
And so began the long tradition of my dad creating memorable quotes about rock bands. Wouldn’t have happened without you. Your dad had some good ones too.
“Is there something wrong with that man?” he mocked when Bruce Dickinson was screaming the high notes.
Classic! Absolutely classic. You were not only there for it, but you were the guy who supplied the music for them to mock!
What I’m getting at here is this. I need to really let you know how much you shaped my life, and how much I looked up to you. I wanted to be you. For years I was your mini-me. You were smart, you were cool, you were big and strong and creative and everything I wanted to be. I had nobody like you at my school. Why did you have to go to a different school? How life would have been different if you were able to stand up for me during the dark times.
I’ll never forget one thing you did for me. It was grade six. My bully Steve went at me really hard that year. He made me cry in class. It’s not a good feeling, crying publicly with 30 of your peers. All I could think is how badly I wished you were there to stop him. Stop all of them. Then one day, you did make an appearance. Our schools had March break during two different weeks. During your March break, you got on your bike and paid me a visit during recess. None of those kids had ever seen you before. Maybe they thought you were my imaginary friend. Not any more! Steve actually fell flat down on his back when he saw how much bigger you were. The memory still makes me smile.
I don’t know if you really understood how bad I had it at school. It was a daily living nightmare. You were the opposite of that. I’d come home, phone you up, and 10 minutes later we’d be in the back yard jumping hurdles made of lawn chairs, and everything was forgotten. You just got me; we shared the exact same sense of humour. Nothing can gravitate two friends together like a shared love of laughing at the same things. You also drew out and nurtured my creative side. Anytime you came up with something cool on your own (which was frequent) you’d share it with me and together we’d expand on it. It was the exact opposite of what I had at school. There, nobody understood me. There, nobody nurtured me. There, nobody laughed with me. Only at me.
You were my hero, man. You were my Wolverine or Iron Man. Funny enough, I got into Marvel comics because that’s what you read! Do you remember reading comics on the patio? Hawkeye was your favourite Avenger back then.
I mean it when I say you were my hero. You were smart and popular and I was just happy to be the sidekick! When I finally made it to highschool, you sneakily got an extra locker next to mine. I felt so cool sharing that illicit locker, like part of an elite club. We had some excellent times in highschool. You bought a black guitar and so for contrast I bought a white one. We never really put the effort in, but we did have fun drawing our logo. “Paragon” was the name you chose for our band. We never really learned to play, but we made a music video. I know you’ll never forget that. Together we spent a week after hours at the school in the editing suite, finishing the video with a very tight deadline. We did it, though. It was hard work. We fought through technical issues and were recognized for our efforts by having our video shown at the local 1989 Charlie Awards. What an honour for us.
I know for a fact that I would not be the person I am today had we not crossed paths 40-some years ago. I think I’d still find ways to be creative, but the things I do today are just extensions of the things we did then. Sequels, reboots, remasterings. I like to think that I’m continuing with the projects we started together. Together we made a music video and two movies. Today, I make several music videos every year! And as hard as it is to believe, I even completely re-edited one of the movies we made 30 years ago. Finishing the work that we started.
It’s OK that you went to college and started your own life. It was always going to be that way. We were never really going to bulldoze the neighbourhood and live in connected houses. Back then, I was never able to express how important you were — and still are. You helped me survive. I knew that all I had to do was endure a week at school. On Saturday it would be us again, you and me, racing cars, flying starships or hosting our own shows. Despite everything I had to go through at school, I always have considered it a good childhood. The best childhood. And that’s because I had you, my best friend. We embarked on truly great adventures, and they far outweigh the damage the other kids could do. When it was you and me, they couldn’t touch me. They weren’t a part of the worlds we were building out of cardboard and Scotch tape. You projected a force field around yourself and nobody would touch you. In turn you were able to shield me with it too. That was a tremendous gift that you can’t understand unless you were the beneficiary.
Do you remember why you chose the name “Paragon” for our band that never was? “Because it means we’re the best,” you said. It was true! We were the best. We were the paragon of friendships with adventures that shaped a lifetime. Thank you for sharing that with me.
– Off the Soundboard – Live at Donington (Monsters of Rock) (August 17, 1996 – 2022 Universal)
Third in the Off the Soundboard series, and we are gifted an original lineup show. Reunion era, we add with a caveat, but an original lineup gig nonetheless. This was a big one: Monsters of Rock in 1996. This gig is only 11 days after the Toronto show at which I saw Kiss, and the setlist is simply a shortened version of what we saw earlier.
Opening with “Deuce”, the reunited Kiss don’t sound vintage, but they do sound professional and hot. The immediately noticeable flaw in the mix is an overly prominent bass. Demon fans might love it! Frehley’s guitar brings that almost-out-of-control quality that we miss today.
The simplicity of the drumwork on “King of the Night Time World” reminds us that the Catman Peter Criss is back on drums. That’s all good. After hearing Eric Singer on the past two instalments of this series, the Catman’s looser feel is refreshing.
Then an F-bomb from Paul: “WOOO! How you doin’ Donington! You all ready to get a little fuckin’ nuts tonight? You want a little rock and roll?” Then it’s “Do You Love Me”, not usually one of those songs you go fuckin’ nuts on, due to its deliberate tempo. I could usually skip it, but this version is pretty good. That overloud bass makes it a bit heavier. The backing vocals are also quite good. “Dr. Love” has that patented Peter Criss pitter-patter on the drums that we can all admit we miss.
The Starchild seems to have a blast singing the word “Donington” over and over again just before “Cold Gin”. Gotta admit this is a great album for Paul’s stage raps! It’s Ace’s turn to shine, in that overdriven, on-the-edge style that nobody can copy. It’s like chocolate it’s so good. The Space Ace gets to sing a verse on his own, which is a perfect touch. An album highlight. Perhaps the best live version of “Cold Gin” available since the original Alive!
The original Kiss tear into “Let Me Go, Rock ‘N Roll” and Gene’s voice is a bit rough at first…as it should be, 100% live. There’s nothing like this song with Ace and Peter on drums. Again, perhaps the best live version since the original Alive! “Shout It Out Loud” is a bit more polished. But if you want heavy, look no further than the thunderous “Watchin’ You”. The vintage Kiss vibe is captured as they thump through this in a completely different way than they did four years earlier on Alive III with Bruce Kulick. Another contender for best live version available since Alive! Previously that honour went to the Alive III version. Simmons is, pun intended, a monster on both tasty bass fills and meaty vocals.
“Firehouse” is simple fun, but once again, the Space Ace adds something that other guitar players do not have, which is nothing against any of them. It is a matter of style, and the style that suits Kiss best.
Kiss turns the microphone over to Ace Frehley on “Shock Me”, which also doubles as his feature guitar solo. You can hear every mistake, and even they are perfect in their own, flawed diamond sort of way. This solo is pure smoke and fire, like a meteorite barrelling through atmosphere. Perhaps the best stage version of “Shock Me” out there, arguably surpassing Alive II.
Over to disc two, it’s finally time for “Strutter”. Paul’s stage rap is amusing if only because he says Kiss are having such a great time back together that they don’t know if it’s ever going to end. Ah, hindsight. This is a fantastic version only hampered by that overloud bass in the mix. Vocals are outstanding.
Simmons takes center stage for his “bass solo” and “God of Thunder”. A Simmons bass solo usually works best as a visual, not musical experience. (Animalize Live bass solo notwithstanding.) While you don’t necessarily want this stuff edited out of a live bootleg, it’s basically waiting for the song to start. Gene is extra-growly on “God of Thunder” and Frehley is hotter than hell. Stanley’s prominent backing vocals add an extra dimension. And Peter’s got that beat nailed down like a beast. He gets his drum solo on this track, a slow and tribal experience similar to, but not as energetic as, his Kiss Alive solo.
When Paul starts talking about size of his pistol, then you know it’s time for “Love Gun”. Drowning in bass, but fiery hot. Speaking of bass, “100,000 Years” is top notch too. Do you feel alriiiiight? Frehley’s soloing on the track is an essential ingredient. The closing trio of “Black Diamond”, “Detroit Rock City” and “Rock and Roll all Nite” are somewhat predictable, but it’s bizarre that we had to wait this long to hear Peter Criss sing lead on something. As for “Detroit”, easily one of the top five live versions on official release.
This set is pure electric vintage Kiss from 1974-1977, and nothing beyond. No “New York Groove”, no “I Was Made For Lovin’ You”. No “Beth” either. If you’re going to cut a track for time for the festival, “Beth” is one to cut. Though sometimes hampered by the bass heavy mix, it is possible that Live At Donington is the best Kiss live album since Alive II. The reunited lineup were certainly a lot better than I remember them being back in 1996, when I thought they sounded stiff. With hindsight, though Peter is steadier than before, Frehley still provides all that danger that is necessary in a live Kiss show. At Donington, the original Kiss brought it.
4.5/5 stars
THE FORREST WILLIAMS DEMOCRACY – “In Service of the Greater Good” (2022 single)
Anybody who ever dug Big Wreck (and there are lots of you) should be checking out The Forrest Williams Democracy. Williams was the drummer on the first two essential Wreck albums with the original lineup. After the band dissolved in 2002, Williams settled down into a family life. Rock and roll always beckons again, and in this case it came in the form of musician Scott Maybee. Together with original Big Wreck producer Matt DeMatteo, the new song “In Service of the Greater Good” was released twenty years after the original Big Wreck ended. So whatsit sound like?
The Forrest Williams Democracy has an uncanny knack for a Soundgarden aura, circa Badmotorfinger and Superunknown. A lot of that has to do with the vocals (shared between Maybee and DeMatteo). Powerful with range, but also subtlety. The riffs (and there are a few!) are heavy. And as for the drums? If you listen to this and the first Big Wreck, you can hear that it’s the same guy. The style, and the thump, remains. “In Service of the Greater Good” is a complex, multi-faceted heavy rocker, but also with the acoustics and added textures that you would hope for. Sabbath and Zeppelin are named as influences and you can hear both seeping through the speakers. You can sense the Bonham influence on Williams, but the Zeppelin also comes out clearly in acoustic sections. Meanwhile the lead guitar work would make Iommi smile.
“In Service of the Greater Good” is more than just the influences. There’s a lot going on here — some serious musical ambition. There was clearly no intent to just write some rock song for the summer. This is impressive stuff. The vocals are outstanding. The musically-inclined will enjoy all the changes and tempos, while the rest of us can just pump our fists when the heavy parts come! Great tune that has the feeling of an album side-ending closer epic. We hope an album will follow.
In the meantime, you can check out the Forrest Williams Democracy on Spotify, iTunes, Amazon and Bandcamp. They also have shirts for sale. Hope more is coming.
4/5 stars
ZZ TOP – Raw – ‘That Little Ol’ Band From Texas’ Original Soundtrack (2022 BMG)
In 2019, ZZ Top bassist Dusty Hill was still alive, and filmmaker Sam Dunn brought us the critically acclaimed documentary That Little Ol’ Band from Texas. The film was cherished for a number of reasons, not least of which was the music, old and new. A big part of the film was seeing the modern-day ZZ Top jamming away on their classics. And it was clear they lost nothing.
With Dusty gone, it’s appropriate to release his final recordings as the soundtrack to the documentary. As the title boldly states, this is ZZ Top raw, playing live in the studio, as only they could. 12 tracks; nothing beyond Eliminator. Every song a classic.
Going back to the first album, “Brown Sugar” opens with some amp hiss and seriously bluesly licks from Billy Gibbons. Raw yes, but also crisp and clear with plenty of bottom end. These are not simple re-recordings, nor are they vastly different re-imaginings. They are just 12 tracks of ZZ Top playing hard and heavy, backed with modern equipment and techniques. The groove flows right through the speakers like jelly. Sonically the tracks are heavier simply because of the modern equipment, though they are still…you guessed it…raw! Dusty’s bass on “Just Got Paid”…oh man. Track after track of familiar rock will hit your ears, satisfying your need for that dirty greasy blues that ZZ Top peddle in. Jamming solos, rolling bass and luscious blues licks await within.
As far as surprises go, there are not many, but it is fun to hear “Legs” done in this raw settling. The sequencers are there but back in the mix. It’s much more rocking. Interesting to hear no backing guitars when Billy is soloing. “Gimme All Your Lovin'” benefits similarly from the raw treatment. No sequencers here, just guitars, drums and bass. No loss either. A slow jam version of “Thunderbird” is another treat. Finally, it’s a blast to hear Frank Beard playing hard on the surf rock of “Tube Snake Boogie”.
From rockers, to blues rockers and just plain ol’ blues, this album contains a nice cross section of songs from 1971 to 1983. Arguably, the essential years. While not essential itself, ZZ Top Raw should make your purchase list. It’s an excellent set of recordings, of some of the best ZZ Top songs, with modern fidelity and of course, the last of Dusty Hill. You loved it when you saw ZZ Top jamming these tunes in the film. Now you can own the soundtrack. So get on it!
4/5 stars
Thanks to John T. Snow for kindly gifting this copy!
Part Thirty-Five of the Def Leppard Review Series
Original Review: “C’Mon C’Mon” (2008 12″ picture single)
DEF LEPPARD – “C’Mon C’Mon” (2008 12″ Mercury picture single)
We haven’t reviewed many actual Def Leppard singles in this review series. Why? Because we reviewed the CD Collection box sets in detail instead, which do an excellent job of collecting all the albums and B-sides from specific eras. This picture disc for “C’Mon C’Mon” from Songs From the Sparkle Lounge is one single for which the B-side has yet to be issued in box set form.
The B-side in question is a live version of “Rocket” from an unknown place and time. What we do know is this: It’s not a pipsqueak edit version from a live album. This is a full-on 10 minute recording with all the extended bells and whistles.
Opening with the usual backwards vocals (“We’re fighting for the gods of war” in reverse), “Rocket” is a Rick Allen vehicle. It’s endurance. The drums are a main feature, but Screamin’ Joe Elliott doesn’t take a back seat to anyone. Still, by the 3:30 mark it’s the Rick Allen show. Soon he’s accompanied by Rick Savage on bass, before the guitar solos begin. Phil Collen goes first followed by Vivian Campbell, in a call & response series of licks. Together the two weave notes and squeals into a tapestry of cool, with Vivian going full metal into speed and tapping.
Around 7:50, Joe surprises the crowd by going into “Whole Lotta Love”. “You need coolin’, baby I ain’t foolin’,” with guitars that replicate what Jimmy Page might have done had he been on stage that night. Back into “Rocket” for the finale, the whole thing works from start to finish as if it wasn’t 10 minutes long but maybe half that. A valuable B-side for your collection, just spectacular stuff.
The A-side is hit or miss. “C’Mon C’Mon” was in the vein of that “Pour Some Sugar” sound, ultimately derived from Gary Glitter. It’s…well, to overuse a phrase, “it is what it is”. Def Leppard are always going to have this kind of song in their repertoire. It’s not bad, just nothing new. Performance-wise, Rick Allen is once again a champion. The guitars have a really sweet crunch. It’s a great sounding single, just an unnecessary direction to keep toiling away at.
3.5/5 stars
Next: Leppard goes country with…yes, we’re at that point now…with Taylor Swift.
Previous:
Next:
36. CMT Crossroads (DVD with Taylor Swift)
37. B-Sides
38. Yeah! II
39. Yeah! Live
40. Mirror Ball – Live & More (Japanese import)
41. iTunes re-recordings
Good morning, Harrison and Mr. 1537! One of you will remember these from the 80s and one of you will not! Still you must agree, pricetag aside, this is a pretty beautiful Lego set. The Atari 2600 is coming August 1 for $240 USD (ouch)! The dimensions closely match that of the original console. It comes with three iconic cartridges made of Lego, three mini dioramas representing art for these video games, and a little shelf to store the cartridges. The front of the console opens up to reveal another mini diorama, of a kid playing Asteroids in their bedroom. It even comes with an incredible joystick made of Lego.
You can insert a cartridge into the console, flip the switches, and plug in the joystick. If it wasn’t for the price, I’d want this in a heartbeat. Check this video by Balazs from Racing Brick for a detailed preview.
– Off the Soundboard – Live in Virginia Beach (July 25, 2004 – 2022 Universal)
Some might question the logic of releasing a 2004 live release with the Stanley/Singer/Simmons/Thayer lineup in the official Kiss bootleg series. Necessary? We already have live material from this lineup, such as Kiss Rocks Vegas. Fans could be forgiven for skipping this, the second instalment of the Off the Soundboard series of releases. (It’s a little late now, but it would have been cool if Kiss numbered these releases!)
Opening with a sluggish sounding “Love Gun”, Paul Stanley is in good voice. The cracks were beginning to show but there is no comparison to the Paul of today. If you want vintage Paul, this is not the album for you. If you want Paul before things went to hell, this is just fine. Gene goes second with “Deuce”, also sounding a big sluggish. Eric Singer is busy on drums, which will be either to your taste, or not.
It’s Tommy Thayer who fails to thrill in the night. Something about his solo work here just falls short of lighting the spark. It’s one of those things that’s not quite right, on the quantum level. Your brain knows the solos, knows how they usually sound, and that’s with fire and a touch of reckless abandon. Say what you will about Tommy Thayer, but nobody uses the word “reckless” to describe his playing. Ace Frehley, on the other hand, had a song called “Reckless”. You see where we’re going here. It’s that touch of professionalism that these solos don’t need. Tommy is welcome on backing vocals, where he helps thicken things up with Eric, such as on “Lick It Up”.
There are a few tracks here that are played live less often, which is one reason to pick up the disc. “Makin’ Love”, “Tears Are Falling”, “Got to Choose”, “God Gave Rock and Roll to You” and “Unholy” are fun when you get ’em, though “Unholy” always sounds a bit awkward live (Thayer butchers the solo). One of the best of these tunes is “Got to Choose” which benefits from the backing vocals of the newer Kiss guys. Creepy as it may be, “Christine Sixteen” is always fun, but Gene doesn’t need to keep augmenting the song with things like “I like it!” And check out the sly Mott the Hoople melody in “God Gave Rock and Roll to You”!
We could all probably do without “I Love It Loud” at this point. “War Machine” can be tiring. As much as we love Eric Singer, he does overplay some songs. “Shout it Out Loud” has a few fills that just don’t need to be there. Yet somehow, “Psycho Circus” is refreshing and “King of the Night Time World” is never a bad thing.
There are two lengthy “jammers” on this album that make for good listenin’. “100,000 Years” and “She” both steam on with the familiar Kiss instrumental bits that you know and love. “Do you feel alriiiiiight?” screams Paul, and damn, he could still really sing. Vocally, Kiss were really good at this stage. Gene was kickin’ ass, Eric and Tommy were the solid backing, and Paul was still 90% there.
This lineup hadn’t been together long, and the members sound more comfortable in their roles today. You won’t be reaching for Virginia Beach 2004 often when you reach for a live Kiss album. It’s a good setlist for the most part though, and it’s good to have for that reason. The sonics are also pretty decent, though obviously short of live album standards. It’s an official bootleg, not Alive XIII. You can hear every flaw and mistake, and that’s a good thing. When you listen understanding that this is indeed 100% live, with Paul Stanley jumping around and his guitar banging erratically, then you realize, shit, Kiss are a pretty damn good live band! A lot of the set sounds like the billionth time they’ve played the songs…but they don’t sound bored doing it. There’s not a lot of that looseness, but plenty of excitement.
3.5/5 stars
RECORD STORE TALES #1001.5: 50 (part two)
Thanks to everyone for your kind comments about my 50th birthday gone awry. Jen is feeling better, though besides a fat lip, she now sports a nice black eye. Could have been worse.
I’m still Covid negative so I’ll take that as a win. The cold that I do have is not so bad, and though I am back at work, I have not been able to do a full day yet. But that will improve.
After Jen felt better from her fall, we opened some gifts. She got me some cool Marvel and Star Wars figures, but the music is the best part.
First up was the new Black Crowes EP, 1972. This six-song covers EP is getting rave reviews and I cannot wait to hear the Rod Stewart cover “You Wear It Well”. This EP is in anticipation of new material from the reformed band. There’s even a photo of the new lineup (including returning bassist Sven Pipien) which is a packaging touch I always appreciate. I have been skeptical of the Crowes’ current reunion, but putting out new music with this lineup alleviates most of that. Dig it!
And then we have the massive Black Sabbath Technical Ecstasy box set! This is one of my favourite Oz Sabbath albums. Actually one of my first, after Paranoid. The box includes the full album, the album remixed, some outtakes and a live show from 1977. The live show looks especially cool, with “Gypsy”, “Dirty Women” and “All Moving Parts” in the setlist. “Electric Funeral” is even included. The bizarre cover art has always struck me as Asimovian. Think The Gods Themselves.
Thank you Jen. What a day for you. You sure know how to buy gifts though.
Then I unboxed the massive parcel sent to me by Thor in Denmark. It was heavy. I didn’t know what to expect. It was obviously packed full. Even so, nothing broke in transit! Everything arrived in great condition, but there was so much stuff inside, we need to do a complete inventory.
First, there’s Anthem: Ultimate Best Of Nexus Years Japanese import with obi strip intact. Thor actually wrote an excellent review of this album with all the details. Bassist Naoto Shibata played on one of my favourite Loudness albums, so this is a total enhancement for my collection. It’s a double disc with a different singer on each disc, from two eras of the band. He rated it 4.95/5!
Then we have Red, Hot and Heavy by Pretty Maids, a band he considers the most underrated in metal. I don’t know this one, but it’s from 1984 so I think I’m going to like it.
Finally we have a self-titled album by Dizzy Mizz Lizzy, who I had to look up. This is a 1994 debut album by a critically acclaimed Danish band. Says a review on the Wikipedia page, “It all heavily oozes Led Zeppelin and Seattle.” Sounds good to me.
It may take a while for me to get to Dizzy Mizz Lizzy, considering Thor also sent me the motherlode of a band I first heard in the 80s, D-A-D, originally known as Disneyland After Dark. They too hail from Denmark, and I have praised their 1989 American debut, No Fuel Left for the Pilgrims, with a 4.5/5 star review.
Well, Thor went overboard. And by that, I mean Overmuch! Look at all this D-A-D glory! Thanks to him, I must now be the proud owner of the best D-A-D collection in Canada. Let’s go through everything one by one.
No Fuel Left For the Pilgrims (1989). This is the super rare original version of the CD, with the original name, before the change to D-A-D. Not only is the cover different, but so is the mix on four tracks: “Sleeping My Day Away”, “Point of View”, “Rim of Hell” and “Girl Nation”. On the international CD that I have, these four tracks were remixed by Chris Lord-Alge. You can hear the slight difference, mostly in terms of levels in the mix.
Good Clean Family Entertainment You Can Trust (1995). A single disc compilation with live and studio cuts, and loads of single artwork inside.
Psychopatico (1998). Double live. Their first live release besides a 1990 live Japanese EP. 17 tracks total.
The Early Years (2000). Double compilation! Includes their first two studio albums, plus their debut EP called Standin’ On the Never Ever, and 17 rare or previously unreleased bonus tracks.
Scare Yourself Alive (2006). Another double live! Two gigs from 2005 included. Minimal overlap between the two discs.
DIC·NII·LAN·DAFT·ERD·ARK (2011). Studio album. Check out that Super Audio CD case! Looks like I have all their studio albums now, as you shall see.
A Prayer For the Loud (2019). Their most recent studio album.
And, best of all…
The Overmuch Box: Twenty Five Years of D-A-D (2009)! This includes all their studio albums up to 2008, completing my collection! The albums are:
There’s still a bit of D-A-D out there to acquire, such as that Japanese EP, but surely not much. To be honest I never expected to get any more D-A-D beyond the Riskin’ It All album (which is supposedly lethal). But…holy shit people! That’s enough D-A-D to take years to digest.
Thor’s generosity cannot be understated! This is awesome stuff. You never see their music around in Canada, and I simply assumed I’d never have them. I love the price tags from a store called Moby Disc – great name! To have this much D-A-D, including the early stuff I only read about, and both versions of No Fuel, I’m just blown away. Truly overmuch! This is a band that has been special to me for a long time, because I can remember sitting in Bob Schipper’s basement when that music video came on. He went nuts for it. Just loved it. Just like I loved that big guy! Nothing but great times.
Thank you Jen, thank you Thor, and everyone who wished me a happy birthday.
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