It’s a Saturday Screening this week as, if all goes well, I will be posting my Journey Freedom review tomorrow.
Today, watch awesome Youtuber Davey504 play a bass solo on 200 basses! Utilizing the basses in stock at a favourite store, Davey rocked this solo with fast fingers and clever edits. Check it out and be ready to be slapped by bass.
BLUE RODEO – Daze In America (1995 Discovery Records promo CD)
Blue Rodeo have a number of promo-only releases of great value to fans. There’s the The Live CFNY Concert for one. “Diamonds in the Rough” / Demos and Other Stuff….. is another. Perhaps the most superb of them was 1995’s Daze In America CD, including five live songs but never released to retail on any Blue Rodeo album or single.
The sextet were riding high with the triumphant Five Days In July album, a surprise hit recorded spontaneously in…well, five days. An utter masterpiece, Five Days in July produced numerous classics that endured in setlists for decades. “Head Over Heels” was one such track, an upbeat Jim Cuddy stomper with harmonica, mandolin, and the kitchen sink. It’s the kind of Blue Rodeo track that gets people off their seats. The version here is the studio cut, which is logical since it was one of the big singles they were promoting at the time.
“Hasn’t Hit Me Yet” is live in Omaha, and it emanates energy from the crowd. “This ain’t nothing new to me, it’s just like going home,” sings Greg Keelor. “It’s kinda like those sunsets that leave you feeling so stoned…” Crowd roars. Live, Jim Cuddy’s harmony line is more prominent. Blue Rodeo’s best song, hands down. And check out Bazil Donovan’s lyrical walking basslines and tell me he isn’t one of the best bass players in this great nation of ours! Yes, “Hasn’t Hit Me Yet” is a freakin’ gem, where every facet matters, and elevates the song further.
Jim’s bluest ballad, “Bad Timing” is received by quiet punctuated with screams. If you see Blue Rodeo live, then you know this is a common reaction to Cuddy’s crooning, a country heartthrob if there ever was one. “Bad Timing” is sentimental, beautiful, and soothing in its own pain. The ultimate breakup song. It’s just bad timing, that’s all.
Casino‘s “Til I Am Myself Again” brings us back to one of those upbeat Jim songs that people love to dance to. Being seated during this song at a Blue Rodeo concert is not optional. Often a set opener, this one kicks! Laying back a bit, “Rain Down on Me” was another big hit, this time from Lost Together. The size of the chorus, a big huge cumulus, is one reason why it is so beloved. The pedal steel guitar solo by Kim Deschamps is outstanding. Then “Last To Know” is another Jim ballad, but with a monolithic chorus.
Ex-Andy Curran drummer Glenn Milchem is all over “Trust Yourself”, a real bolder-buster of a tune. It was always a bit of a jam, but live it just explodes from all its bounds. Then it descends in a two minute outro of solos and jamming. Blue Rodeo are one of the best live bands you’ll ever see, and this track shows why.
A great promo EP, somewhat rare, but worth the extra few bucks for these rare recordings.
5/5 stars
RECORD STORE TAILS #1006: Too Many Cooks
Every so often, a thought or a memory has casting my mind back onto the old Record Store Days.
You probably don’t often think about a job that you quit almost 20 years ago now. Then again, you probably didn’t work in a Record Store.
It was the Dream Job. I always wanted to work in some way with music, and selling CDs was pretty high on my list. It truly was everything I had hoped for. I acquired hundreds of rare treasures, out of print CDs and things I never knew existed. I got them with a discount, and I got to listen to music every day. Lifelong friends were made. That’s something I never thought would happen from a workplace.
The Record Store also put me back in touch with friends I had seen in years. The Store was located at the local mall, the epicenter of the neighbourhood. Banking, groceries, and everything you needed could be found at the Mall, and so a lot of the people I went to school with drifted in through my doors. Some managed to stay in touch since then, thanks to social media. I would not trade those connections for the world.
I know a young fella who now works at one of the many stores that I did time in. It was one of my least favourite stores, in fact. I hated working at that location. The customers were not, shall we say, the upper crust of society in that neighbourhood. But the kid loves his job! Have things changed, or did I get it wrong? That’s what I ask myself sometimes. Did I misrepresent those years in Record Store Tales? Was I unfair?
The first two years were really awesome. I looked forward to going to work every day. I got there early and stayed late. There is no question that the fun atmosphere changed when we started to expand. 10 years later I was having panic attacks. Too many years of a retail job that was treated with as much urgency as a doctor’s or a lawyer’s. Family came second. Performance was everything. Weakness was inapplicable.
Too many cooks spoil the brew.
At the end I had three bosses, and it was kind of shady how some of that went down.
I never looked forward to work anymore. I still got there early, but that was more to take my own time opening. Get ahead on some things. Listen to music. Fill orders. I still do that today in my current job. I arrive early, and slowly and casually start getting stuff done before we’re officially open for business. Make a coffee. Read some news. Answer emails, before the phone starts ringing. I don’t think there’s anything wrong with that, but the boss told me, “If you worked at IBM, coming in early to do extra is considered bad work habits.” I distinctly remember him saying that. I simply could not win with them. It was a record store, not IBM! Who cares what IBM do? They don’t buy and sell used CDs from the public.
I’ve said before that there were cliques at the Record Store, and I stand by that claim. I never felt like I belonged. I was the only hard rocking sci-fi nerd with severe social anxiety. I wasn’t hanging out with the right people at the right bars, because that’s not my thing. Being invited out to the bar doesn’t count. I. Did. Not. Fit. In. I stand by that. And I maintain that people in power did let their personal lives leak into their work life.
No. Upon reflection I feel like I was fair in my previous assessments. I will say that I am guilty of one thing in my writing. Once I knew that people at the Record Store were reading, I let that influence my writing too much. Too often, I wrote with that knowledge in the back of my head, whether consciously or unconsciously. Perhaps that was unavoidable.
Too many cooks spoil the brew,
Wanna be the king of the world,
Yeah, and too many jailers makin’ the news,
Wanna be the king of the world.
“Oh, she wasn’t that bad.” – Them
“Oh yes she was!” – Me
RECORD STORE TALES #1005: Bully Graffiti
The office Bully and I had to work together frequently. I’ve worked for a lot of managers over the years, but she was the worst, even worse than the guy who stressed me into a nervous breakdown. He didn’t mean to do it; he was just a shitty manager. Office Bully on the other hand was malicious, as I have described in the past. She was not capable of separating her personal life from her job, and because I was friends with her ex-fiance, I got the shitty end of the stick every time. I felt like there was a constant tug of war over me. I had a target on my back, as others noticed. “She doesn’t treat anyone else like she treats you,” said one colleague.
I will never forget one morning working together in the store in the late 1990s. She decided to test me. Test my knowledge. Of her. Of her taste in music.
Usually the staff picked the tunes for the day. I asked her what she wanted to listen to while I went to collect music for the day’s store play.
“Pick something I like,” she said. Jesus Christ. Pick something she would like? What the hell did she like? I knew she was testing me. Testing me on how much I knew about what she liked to listen to. How much I’d been paying attention. She liked to play these games. We weren’t supposed to be friends; I just wanted to do whatever I had to do to be treated like a human being in the workplace.
I knew she liked Bjork, the Band, soul music, and…I drew a blank. Frankly it was none of my business what the hell she liked. Not part of my job.
I decided to hedge my bet. We had a five CD changer, and instead of picking two CDs for me and three for her, I picked five for her and hoped I got some right. Based on the fact that she liked old soul music, I thought I’d try more oldies. American Graffiti soundtrack? Maybe there was something on there that she liked? It looked pretty good. I put the five discs that I picked into the changer and hit “play”, crossing my fingers and toes that I got it right.
A few songs went by without comment. So far so good. Then came an American Graffiti track into the shuffle. That’s when she spoke up.
“You picked this, for ME?” she interrogated.
“No, I picked it for me,” I lied. Dodged a bullet. Barely. I lived to work another day.
The Bully’s friends will say something predictable, like “That doesn’t sound like she was testing you, that sounds like she just wanted you to pick the music for the day.” I would respond, “You weren’t there.” I heard the tone of voice. I knew the game being played. It would have been obvious had anyone else been there. “You picked this, for ME?” That was the tell.
But I got away with it and to this day I really could not give a shit what kind of music she liked. She certainly didn’t respect my tastes — once she told me only one person at my store (the one she was friends with) had good taste in music.
Why would you ask someone with poor taste in music to pick your CDs for you? She was playing games as usual, as always.
RECORD STORE TALES #1004: It’s Not You
2018 was, shall we put it mildly, an interesting year. It was the summer that wasn’t. The year I spent the best months of the year driving to and from Toronto, at first waiting for a miracle, and then waiting for the inevitable. When my beloved mother in law finally passed away in September of that year, at least she left the pain behind.
Her decline at the end of the summer was rapid. Before she got too sick, she insisted that I still go record shopping with Aaron as we used to do annually. “You go and have a good time.” She had no way to know how important that was. That one record shopping excursion changed everything for Jen and I that summer. A discovery I made on that trip impacted the whole rest of the summer. That discovery was Blotto.
I’ve talked numerous times about how the skillfully comedic sounds of Blotto made the summer driving tolerable. I’ve trumpeted the merits of Blotto ad nauseum, but it cannot be overstated how important that music was to us at that time. And I had no real idea what I was buying. I just knew Blotto had one song in the 80s – “Metal Head” – that I saw on MuchMusic as a kid. But I didn’t think they were a metal band. They had a bald guy and a guy who looked like Revenge of the Nerds. They sported funny names like “Bowtie” and “Cheese”. For the sake of personal musical history, I wanted “Metal Head” in my collection. So there in the basement of BMV, with Aaron at my side, for a mere $8.99, I acquired their important album Combo Akimbo. It was the best decision I made all summer.
What I got was a nine-track comedy-rock album that kept us in positive spirits as we drove up and down Highway 401 all summer. And what is amazing is that I can play the album today and still feel the same things.
The bad memories are still there. They bubble to the surface. I can see myself behind the wheel, stopping and starting again all the way to Toronto. I hear Jen singing along next to me. But the pain is manageable, and the positive feelings outweigh the bad.
Of the nine songs, there was always one that made us laugh the most. That song was “It’s Not You”. Not only is it a catchy song with a cool guitar lick, but the lyrics are hilarious. I’m glad that Blotto was not tainted by the summer of 2018 and I can still enjoy their music with a huge grin on my face. That’s the gift. All too often, because acquires the feelings of the times you hear it, and if those times weren’t good, it’s hard to get around. Fortunately that didn’t happen with Blotto. I feel only good feelings, especially when I play “It’s Not You”. I can’t help but smile, every time.
This is something that’s not easy to do,
It will hit you like a bolt from the blue,
After last night, I have to tell you we are through.
When we’re alone, everything is OK,
But it’s never gonna stay that way,
When I take you home, your family has so much to say.
I try and I try, to be cool when they start,
But girl, they’re the ones who are tearing us apart.
It’s not you!
Don’t blame yourself
It’s not you!
No-one can help.
It’s not you!
I can’t be your man.
It’s not you!
It’s your family that I can’t stand.
And it’s driving me crazy!
Your mother wants to know if I am on drugs,
Your brother shows me his collection of bugs,
Your aunts don’t like me and your uncles are a bunch of thugs.
Your father coughs and blows smoke in my face,
He still believes in the superior race,
He says if he were president, the world would be a better place.
I try and I try, to ignore them for our sake,
But girl, I’m afraid it’s too much for me to take.
It’s not you!
Don’t blame yourself
It’s not you!
No-one can help.
It’s not you!
I can’t be your man.
It’s not you!
It’s your family that I can’t stand.
There is no future baby can’t you see,
Picture in your mind how it would be,
All of us living in relative misery.
I try and I try, to be cool when they start,
But girl, they’re the ones who are tearing us apart.
It’s not you!
Don’t blame yourself
It’s not you!
No-one can help.
It’s not you!
I can’t be your man.
It’s not you!
It’s your family that I can’t stand.
It isn’t you,
It’s only your family,
Don’t take it personally,
It’s just all those little things,
Like when I come over to your house and your father tells me “Don’t park in the driveway, ‘cause your car gets oil on the new white pebbles,” and then when I go inside the house, the cat jumps on my lap, and gets hair all over my shirt and pants, and your grandmother sits the newspaper and gets it so wrinkled and bunched up that I can’t even read it, and your sister brings out her scrapbooks and wants me to look at all of her prom pictures, I mean, who cares! And your brother wants me to help him with his science project, dissecting frogs, ick, what a mess, and I go into the bathroom to wash my hands, and all they have is soft soap, and my hands smell like coconuts, and I can’t dry them on those little guest towels, so I gotta wipe them on my shirt, which is already covered with cat hair, and then when I come outside, your father corners me, and wants to tell me all the jokes he read in Playboy magazine….
Part Thirty-Seven of the Def Leppard Review Series
DEF LEPPARD – B.Sides (CD Collection Volume 3 Disc 4) (2021)
It’s somewhat irksome that this disc wasn’t titled Rarities 5 to maintain continuity with the previous two box sets. Alas, this disc is titled B.Sides (probably so the artwork jives with the X album) even though it contains more rarities than just single B-sides. Quibble aside, let’s dive in with an important caveat: Many of the tracks on this disc are from the X era, which did not rate well in this series thus far.
Two inconsequential radio edits begin the CD: “Now” and “Long Long Way to Go”. In the case of “Now” that could be an improvement, though less than 10 seconds were chopped from the song. Credit due: when the song starts cooking after the first chorus, that guitar riff is pretty awesome. “Long Long Way To Go” suffers more in the radio edit context, losing 38 seconds, ending abruptly with a quick fade. A better version is still to come on this disc.
From there we move on to the Japanese and UK X bonus track “Kiss the Day”. This song is generally acclaimed by fans as a tune that would have improved the album in general. It has a riff to it, but then slows right down into ballad territory. It recovers on the psychedelic chorus but it’s a bit uneven. There’s a smoking solo worth noting in the burning ending section.
B-sides galore next! Some of these tracks were hard to collect at the time, at least in North America. “10 X Bigger than Love” from one of the “Long Long Way to Go” singles would have been awesome had it been on an album, but it’s too rock and roll for X. Leaving it off an album was a mistake. “10 X Bigger than Love” was considered a keeper by Joe but the other guys in the band didn’t like it as much. “Love Don’t Lie” is Joe’s demo version of the album track, previously released as one of the B-sides to the “Now” single. It doesn’t have the chorus production of the album version, but might actually be more interesting for that reason. Apparently they were going for a Seal vibe similar to “Crazy”. Close but no cigar.
The included demo of the ballad “Let Me Be the One” (another “Now” B-side) is so much more raw and genuine than anything on the X album. It should have just been released as-is! They didn’t have to muck it up for modern audiences. This one has so much more heart and genuinity. Joe’s Cybernaut friend (and Bowie’s bandmate) Dick Decent handled the difficult piano part. The rocker “Gimme a Job” (from the “Long Long Way To Go” single) is a pretty simple but gets the job done for a B-side. Why so simple? The other guys didn’t care for it, so Joe played everything — including the guitar solo! It might be a bit similar to a previous B-side called “When Saturday Comes”.
The last B-side in this chunk of songs is an acoustic version of “Now”, also included on the “Long Long Way to Go” single. Though it lacks that chunky riff section that we all love so much, it also lacks the digital bleeps and bloops from the original. Unfortunately, this acoustic version proves the song just isn’t all that great at its core.
The stripped down acoustic version of “Long Long Way to Go” does the opposite. This is a real rarity from the Japanese printing of the X album. A truly great song (though they didn’t write it), and this is really the definitive version. Easily superior. They didn’t have to go all-in with the production, and here’s more proof. This is the same recording, just with all the junk removed. Great to finally be able to get this version easily now. It should have been on the album and the other version released as a remix.
In another slightly irksome move, the CD jumps ahead in time here, only to jump back on the next song. Moving forward in time to the album Songs from the Sparkle Lounge, it is the much demanded “Joe Only” version of “Nine Lives”. This valuable Japanese bonus track should have been more widely available from the start, so in-demend was it over the “Joe and Tim McGraw” version on the album. This is the song as it always should have been! Hard rocking, chunky, upbeat, and fun. Not a single bad thing about it.
Then back in time for the final X track: “Perfect Girl”. Much like the previously released download-only 11 song live set, you could grab this song for free from the official Def Leppard site. A big thank-you to Def Leppard for being so proactive and fan-friendly in the early internet days. “Perfect Girl” is a superior demo version of the song “Gravity” and has never been released physically until now. When we say it’s the “superior” version”, let’s just add that it’s less boy-band-y. It’s still not all that great, just…not as bad.
Finally, the last of the tracks is the other Japanese bonus track from Sparkle Lounge. This is a piano version of the album epic “Love”. Those who thought the album could have used a ballad will enjoy it. “Love” is notable as one of Joe’s best vocal performances and now you can hear it adorned only with backing piano. The album version will remain the go-to since it’s so big and bombastic, but this a nice Queen-like alternate version that the diehard fans will enjoy.
Though a bit X-heavy, this excursion into Leppard B-sides was a better listen than that album. Collecting them all was a pain in the behind, so having them all in one place (plus the one that was download-only!) is a brilliant solution. Wish it was “rarities” and was in stricter chronological order, but the disc checks off a ton of boxes for collectors.
3.5/5 stars
Previous:
Next:
38. Yeah! II
39. Yeah! Live
40. Mirror Ball – Live & More (Japanese import)
41. iTunes re-recordings
42. Viva! Hysteria (DVD & CD 1)
43. Viva! Hysteria (CD 2 & Bonus features)
44. Slang (2014 Deluxe bonus tracks)
45. “Helen Wheels” (from The Art of McCartney)
46. Def Leppard (Deluxe and Japanese versions)
40 years ago, for my birthday in 1982, my parents got me Ms. Pac-Man for the Atari 2600. Those of us who had a 2600 were well aware of the compromises made in consideration to graphics. Even so, Ms. Pac-Man was one of the best Atari adaptations.
Last weekend, on what turned out to be my birthday celebration for 2022, I turned back the clock and played Ms. Pac-Man again. The arcade version, thanks to these excellent plug & play games. I didn’t have the greatest game – I’m out of practice – but you can see my old high score on the screen. I made it to level three this time at least!
WARNING: Gratuitous swearing.
THE BEACHES – The Professional (2019 Universal EP)
Fact: Toronto’s The Beaches put out consistently good music. On their 2019 EP The Professional, they teamed up with big namer Jacknife Lee for production. The band has grown a huge fanbase opening up for artists like Avril Lavigne, but the truth is they are better than most of the bands they open for. The Beaches have developed a signature sound early on. It doesn’t hurt that singer/bassist Jordan Miller has a unique, powerful voice.
Opener “Desdemona” boasts some sharp opening chords because the bass and drum groove takes us to the dancefloor. Jordan Miller goes falsetto for that vintage vibe. The guitars cut but don’t dominate. There’s a fun 80s vibe but with the modern clarity and production that fans demand today. It thumps!
More 80s vibes on “Fascination” which has an fast tempo Blondie direction. Short, sweet and upbeat. Synth drums open “Snake Tongue”, an understated angry pop masterpiece. Check out these lyrics:
I can’t say I lack for much attention,
‘Cause these creeps come in from all directions,
Getting in my face,
Every single day.
And these:
Stop sending me all your dick picks,
They are boring me to pieces.
Although the Beaches certainly don’t need my sympathy, that kind of behaviour pisses me off. Have some respect, dudes. Though the music is nothing but pure uptempo fun, the lyrics bleed reality and it’s awesome. You can hear why the Beaches are really resonating with kids today.
“Want What You Got” continues the 80s dance direction. The bottom end just booms. The chorus slays. Everything about this song rules. No weak links. There’s even a heavy breakdown midway through. This is a guilt-free ode to jealousy, and why not. When the chorus is this killer, who cares about deadly sins.
The final track “Lame” was a radio hit upon release. A bit of an anthem, with bite! 70s glam rock vibes all over. Loaded with attitude and soaring high on confidence, this track attacks!
The Beaches are only going to get bigger. They’ve been releasing music consistently, including the Future Lovers EP and live tracks on Youtube. Their next album will be huge, just wait.
5/5 stars
Catch the Beaches in Toronto TONIGHT!
RECORDS STORE TALES #1003: Animalize Live Uncensored
36 summers ago, I taped Kiss Animalize Live Uncensored off next door neighbor George. I recorded the video (which he recorded from a rental) onto a VHS, and the audio onto a 90 minute blank cassette. For that summer, Animalize Live was my Kiss live experience. I only had Alive on vinyl, which wasn’t portable. I didn’t have Alive II yet. My cassette copy of Animalize Live was constantly in my ears all summer.
I knew every word of every Paul rap.
“Detroit let me tell ya something just between you and me. That baby had the longest fuckin’ tongue I ever seen in my life!”
“Paul, what are you doing with a pistol down your pants?”
“Eric may look like a baby, but he’s built like a man.”
Paul did a striptease, and the guys hung the panties that they were thrown by girls in the crowd from their microphone stands. The concert dripped of raw sex and I was like a kid in shock. I had never seen anything like this before. I didn’t even know if I wanted to! But there it was in full glory, Paul Stanley telling stories about his “Love Gun” and me sitting there watching it multiple times a week. The summer I had mono. I couldn’t do much else. I watched a lot of videos and a lot of them were Kiss.
Listening today, I remember every note of every solo. Paul went first with a guitar solo. Bruce Kulick, the new kid, was standing in for Mark St. John and didn’t even get an introduction or solo. Eric’s drum solo was second, and Gene’s bass solo last. I liked the bass solo. It actually seemed more musical than the other two. Its simplicity is one thing…but I was humming the bass solo hours later.
I still know every vocal divergence each song takes in this live incarnation. Like old muscle memory. And you know what? There’s something to be said about 80s Kiss. They were playing things faster and Eric Carr added his own unique elements to Kiss, as did Bruce. On some songs the speed works. I was just thinking that if they came out playing “Creatures of the Night” this fast today in 2022, people would lose their minds.
On my Walkman, I went for cottage adventures with this concert in my ears. It was the worst recording possible; a cassette copy of a VHS copy of a VHS copy, in mono. Bootleggy as hell. But there I sat in the grass, as Paul Stanley told us of the women who wanted to “mother” Eric Carr. And I had no idea what, specifically, “mothering” Eric Carr meant. I knew it meant sexy times of some kind, but…nope, right over my head.
Animalize Live Uncensored was my Alive III from a time when we didn’t think we’d get an Alive III. Or at least, I didn’t. It was several albums and several years before we did get one, and Eric was gone by then. I liked it. I still do.
Complete studio albums (and more!), part 8.5
KING’S X – “A Box” (1996 Warner Germany CD single)
In 2022, the “King’s” are returning, so today let us look back on some of their fine 90s output. 1996 was the year of Ear Candy, the progressive giants’ most commercially accessible album to date. It was produced by Canadian Arnold Lanni (ex-Frozen Ghost, Sheriff) and the songs were straightforward and hook-based compared to what came before and after.
Last year, we curated some King’s X lists with Martin Popoff right here, and he rated the single “A Box” in his top five. The version included on this single is an edit, over a minute shorter than the album cut, with the cut material being mostly outro. Dug Pinnick is always passionate but you can really feel him on “A Box”. “There is no room inside a box,” goes the chorus, and one has to wonder if this box is one to break out of, to retreat to, or both. The song gives voice to loneliness and anger, but also sings of “a place to run and hide, just a place to free your mind.” It is a ballad with strong lyrics, unforgettable melody, Ty Tabor’s signature guitar glow, and an absolutely wicked Jerry Gaskill drum sound, thanks to the magical knob-twiddling touch of Arnold Lanni.
One album cut is included, which is “Looking For Love” from Ear Candy, another one of its strongest tunes. This one smokes of anger and frustration. It also contains the key lyric, “I guess I lost my faith,” which is true. Dug was once Christian but left the church around Dogman. Yet it’s also melodically one of the strongest songs, which helps back up that killer Ty Tabor riff.
The non-album B-side is a rarity called “Freedom”. Unlike the album which was recorded with Lanni in California, “Freedom” came from a self-produced session in Houston. Sonically it does not fit with the boldly in-your-face Ear Candy, but it does offer another Ty Tabor lead vocal. It’s a bit more sparse and hard-hitting, but still boasts the patented King’s X harmony vocals on the chorus. There’s a cool melody buried in the outro too. Overall, it is not as strong as Ear Candy as a whole, but as a bonus track, it’s more than adequate. Ty’s singing will be the highlight for many fans as he really goes for it.
Great single, and thank you Martin Popoff for inspiring the purchase.
4.5/5 stars
KING’S X review series:
Part 1 – Out of the Silent Planet (1988)
Part 2 – Gretchen Goes to Nebraska (1989)
Part 3 – Kings of the Absurd (split bootleg with Faith No More)
Part 4 – Faith Hope Love by King’s X (1990)
Part 5 – “Junior’s Gone Wild” (from 1991’s Bill & Ted’s Bogus Journey soundtrack)
Part 6 – King’s X (1992)
Part 7 – Dogman (1994) + bonus “Pillow” promo single review
Part 8 – Ear Candy (1996)
Part 8.5 – “A Box” (1996 CD single)
Part 9 – Best of King’s X (1997)
Part 10 – Tape Head (1998)
Part 11 – POUNDHOUND – Massive Grooves from the Church of Psychofunkadelic Grungelism Rock Music (1998 Doug Pinnick/Jerry Gaskill)
Part 12 – Please Come Home…Mr. Bulbous (2000)
Part 13 – PLATYPUS – Ice Cycles (2000 Ty Tabor)
Part 14 – Manic Moonlight (2001)
Part 15 – Black Like Sunday (2003)
Part 16 – Ogre Tones (2005)
Part 17 – XV (2008)
mikeladano.com 