BILLY CONNOLLY – Live in New York(2010 Rykodisc DVD)
There are few funnier than singer/comedian Billy Connolly. My theory is that it’s the Scottish accent. Live in New York is the funniest comedy DVD that I own. I don’t buy a lot of them, because I find they have a limited lifespan before they get old. I have another Billy as well (Erect For 30 Years), which combines his old standup plus interview and documentary footage. From his Too Old to Die Young tour, Live in New York is the one to get; it’s pure gold.
There isn’t much “standing” in Billy’s stand-up. He’s mobile, acting out his scenes, rarely stationary. This was recorded in 2005, before Billy’s Parkinson’s disease diagnosis. What storytelling ability! Like a big beast, every story is recreated on stage for your entertainment.
Even though I have seen some of these bits before (Billy scaring his sister is classic), they all come across as if Billy is telling the stories for the first time. Halfway through a story, he will go off on a tangent. He’ll stop his story mid-breath, pause, and then say, “I just have to tell you about something…” Then he’ll tell another story, and come back to his original story 10 minutes later, to much laughter and applause.
Everything’s funny, but some bits here were absolutely hilarious. They include:
The afforementioned “sister” story which takes 10 times as much time to set up as the story itself.
The stories about his dad who had a stroke. If you have ever had a family member who’s had a severe stroke, then you’ll know. Billy nailed this one on the head, hilariously.
The “thistle” tattoo.
And best of…opera. You’ll know what I mean when you see it. Billy nails everything I love and hate about opera!
Audio is plain stereo, format is full screen. No special features; just the show. Billy may be getting old, his hair may be white, but his humour has lost absolutely nothing over the years. This is, in my humble opinion, the very best DVD that Billy has to offer.
Tremendous sadness today as we learn that Tom Petty has died of a heart attack. (His alias on the first Traveling Wilburys album was Charlie T. Wilbury Jr., hence the title of this article.) Petty suffered the heart attack last night. He was taken off life support today. And the rock world is hit with another shattering blow.
I first heard Tom and the Heartbreakers when they released “Don’t Come Around Here No More” as a video. His career with the Heartbreakers was the stuff of legend, but the music that always touched me most were the Wilburys and his solo album, Full Moon Fever. Each one is virtually its own “greatest hits”.
Tom Petty gave us one of the most enduring anthems, “I Won’t Back Down” among his dozens of hits. He defined an entire style of music. When people talk of a song being “Tom Petty-ish”, you know what it’s going to sound like. Chances are, there are some chiming electric guitars and some southern accents.
Rest in Peace Tom Petty. We hope you’re jamming with your old friends Lefty and Nelson Wilbury in heaven now.
QUIET RIOT – Road Rage (2017 Frontiers Japanese version)
We’ve always been honest but truthful Quiet Riot fans here at LeBrain HQ. We’ve been banging our heads for almost 35 years now, and they included some ups and some downs. The death of Kevin DuBrow was heartbreaking. Some of our Quiet Riot reviews haven’t been the most popular, but we have always maintained an open mind. Frankie Banali’s resurrected Quiet Riot with no original members left a bad taste in the mouth, especially after management attempted to re-write the band’s history on Wikipedia. Pages were edited to indicate that the Metal Health album was Quiet Riot’s debut, seemingly in order to qualify Banali as an original member. Ugly and undignified; but music talks and bullshit walks. Quiet Riot’s first post-DuBrow always was 2014’s 10, with Love/Hate singer Jizzy Pearl taking over as the band’s sixth lead singer. It wasn’t that good and it’s conceivable that the band know it. No physical edition was ever released, and you can’t even buy a download anymore.
So, it’s delightful to be able to say that the new 2017 Quiet Riot album called Road Rage is…not bad at all! Actually quite good!
It’s even been rocky since 10. Jizzy Pearl left amicably, to be replaced by ex-Steven Adler singer Seann Nichols. They recorded a new album, even released one full song online…and then suddenly Nichols was out! American Idol alumnus James Durbin was hired in short order, and re-wrote and re-recorded the entire album.
Skeptics, be silent. Our fair and balanced take on Quiet Riot in the past should speak volumes for the review you are about to read. It would be far easier to mock Quiet Riot for their choice of a TV show contestant as a frontman, but it would be grossly inaccurate.
Durbin’s youthful enthusiasm will either win you over, or leave you complaining that he’s “not enough like DuBrow” and it “doesn’t sound like Quiet Riot”. Here’s the truth — that’s good. We’ve endured one soundalike singer after another. Durbin has a fresh spin, and there’s little question the guy is just pleased as hell to be fronting this band! he gives it all on “Can’t Get Enough”, a new uptempo Quiet Riot party tune. Co-writer Neil Citron must have written the riff with a classic Quiet Riot vibe in mind.
Then it’s down weird street a little bit with the Indian-flavoured intro to “Get Away”. It takes a moment, but once you realize “Hey, this isn’t the same old Quiet Riot”, you will be able to realize that “Get Away” is a damn good song. It’s actually quite melodic rock, but with a Zeppelin groove. Then it’s the pro-weed “Roll This Joint”, which has a seriously decent Zep vibe too. The lyrics are pretty cheesey (“I’m with Cheech and Chong and Willie and Marley!”) but you gotta cut Durbin some slack. He’s young and it’ll connect with some of that crowd.
The thing is, you just can’t dislike Durbin. He wins you over, especially on the lead single “Freak Flag”. This is the most Quiet Riot sounding track of the disc, but with Durbin it’s no carbon copy. “Freak Flag” kicks ass and you can imagine it working great live. Same with “Wasted”. That chorus (“Take a shot!”) grows fast. Even the ballad “The Road” doesn’t suck. Through the 11 tracks, it’s clear who the star on this album is. The new frontman rose to the challenge. In the back, Frankie Banali’s providing the Quiet Riot backbeat; the linkage between past and present. Guitarist Alex Grossi also turns in a worthy performance, and Chuck Wright (bass) has a co-write on the slippy-slidey “Still Wild”. Despite the circumstances in the making of the album, Quiet Riot sound more focused than they have in decades.
Frankie’s revival of Quiet Riot has been going seven years straight, through five singers before getting James Durbin on board. Only the singer has changed; Grossi and Wright have stood by through thick and thin. No matter what, Quiet Riot will continue. Fans should be advise that the first album with Durbin has turned out great, and let’s hope this is a long-term lineup. He’s got the necessary range to sing vintage DuBrow, but in his own voice. And that voice is growing quite compelling. Not every song is killer, but the majority of the album gets the job done. Enough to justify putting your money down.
The Japanese version of Road Rage has an exclusive bonus track. It is an acoustic version of “Make A Way”, one of the heavy album tracks. This isn’t a crappy remix, but an entirely new recording of the song in acoustic arrangement. It’s different enough that it actually seems like a new song. Bonus track: win!*
As Durbin sings, “Take a shot!” Give Road Rage a road test. Just don’t “Knock ‘Em Down”, or you will have to “Get Away”. The quality of this album in terms of sound and songs gives the new Quiet Riot a level of credibility they didn’t have before. Easily their best album since 1993’s Terrified or even before. Let your “Freak Flag” fly, James Durbin!
3.75/5 stars
* Former singer Seann Nichols made a comment in an interview that implied the version of Road Rage with his vocals was released in Japan; this is unfortunately not the case. If you have any Seann Nichols versions of the Road Rage songs, please contact us here. We are dying to review them in contrast to the final album!
And we had a winner, immediately. A man who knows his metal like he knows his haggis. SCOTT, your HEAVY METAL OVERLOrD correctly guessed the first record (the new release, non-Canadian double LP) and wins a picture drawn by me!
It was…ACCEPT – The Rise of Choas.
I did what any sensible shopper should do before buying the album. I looked it up on CD Japan to see if the Japanese version had any bonus tracks. They did not, so I grabbed the double vinyl. 10 tracks, 2 records, orange and blue swirl vinyl, limited to 700 copies. Those numbers add up for me! I can’t wait to sink my needle into those.
Scott’s picture is a Schnauzer on an airplane!
The second LP (which I didn’t seriously expect anyone to guess) nicely fills a gap in my collection. You see, I have CD remasters for every Rush album from the first one to Test For Echo…except one. Roll the Bones continued to elude me, so instead of CD, I opted for something possibly better: 200 gram vinyl LP remaster. As far as I can think of, this is my first 200 gram vinyl purchase, though I own a few 180 grams. Aaron correctly guessed Rush (with an initial guess of VoiVod) so I offered to draw him a picture of a cookie. Sadly it turned out looking more like vomit (even when I added the cookie fumes), so I hope you will excuse the lack of a prize.
RUSH – Roll the Bones 200 gram remastered LP. Now I have all the Rush remasters!
And now, the conclusion to the “How did Mike get the Max Webster The Party box set?”
Because, oh yes, I did get it.
Sunrise had it for $64.99, but I had trouble cancelling my Amazon pre-order at $89.99. I bought my Rush and Accept records, and drew a prize: a new fidget spinner! (I think I have four now?) I went home and kept trying to cancel my Amazon order. An email said that the issue should be resolved in a few hours, so I sat tight.
Around 4:30 that afternoon, I got the email that my pre-order was successfully cancelled. I hopped in my car; four minutes later was back at Sunrise. I grabbed Max Webster, and drew another prize: a Transformers mini-comic!
So, really, everything went down about as perfectly as you could imagine. I got The Party box set and an extra prize for coming back.
The Party is very bare-bones for packaging. There are no booklets, but the discs are housed in mini-LP gatefold sleeves with inner graphics. For that reason, I am going to hang onto my remastered Max Webster debut CD on Rock Candy, which has an extensive booklet. A buddy of mine named Scott has dibs on the rest of my old Max Webster collection. Hey, it’s a lucky day for guys named Scott!
I have a lot of listening to do, which will hopefully lead to a little reviewing. Hope you enjoyed this game! Back to reviews tomorrow.
Saturday September 30th was Sunrise Records’ “Grand Re-opening” across Canada. I’ve been shopping there for months now, but the 30th was a ceremonial event. They had prizes and sales, but as usual I came for music.
Brother Tom sometimes asks me, “Why do you go to Sunrise? Go to Encore Records — a real record store.” I get what he means. Encore has long reigned as the Best Music Store in Kitchener-Waterloo. Even back when Tom and I were in the business, we knew Encore had the game all sewed up in this town.
I like going to Sunrise for a number of reasons; one is location. I got there in four minutes. Two, I want them to do well with this re-opening. The mall needs a record store. A mall without a record store is just a Walmart with a food court.
On to the quiz: What is in LeBrain’s Bag? Examine the picture at top and post your answer in the comments.
Clues:
There are two records in there.
One is a double, one is a single.
One is a new release, one is a reissue.
One is Canadian content, the other is not.
You can kinda make out one.
The Prize:
I WILL DRAW A PICTURE FOR YOU, yes that’s right I WILL DRAW YOU A PICTURE!
Guess just one record and I will draw a picture for you, probably of a Schnauzer, but you never know. Airplanes are also cool.
Guess both records and we will send you to Dr. Peter Venkman to be tested for ESP ability.
The big new release this week was the long awaited 8-disc Max Webster box set, The Party. It’s all their albums (except the “greatest hits” Diamonds Diamonds), a disc of unreleased rarities and the Kim Mitchell EP too. Encore Records had it — 15 copies. Sunrise had it too. My copy was on pre-order from Amazon, for $89.99.
When I arrived at Sunrise, I nearly shit my pants. They had it for $25 cheaper — only $64.99. I jumped on my phone immediately, logged into my Amazon account and tried to cancel my pre-order. It was already staged for shipping. The cancellation wouldn’t go through?
What happened? Was I able to cancel my Amazon order? Would Sunrise still have the box set when I came back? Tune back later today for the answer to today’s quiz and the conclusion to the story!
Took my early morning walk recently. One of the roads we like also happens to be a hideout for teenage stoners. I found a “Clear Eyes” dropper for those red stoner eyes last time. This time, I think the stoners were rolling blunts!
A question I often get is “Have you heard ‘x‘ by ‘band y’?” I’m always eager to offer up opinions, but like any other music collector, there are albums I simply have not heard yet. Friends and fellow writers continually offer fantastic suggestions, but time and money are always limited. I like to listen to my old music too, and not just stuff that is new to me all the time. Getting caught up on bands I may have missed is a time consuming process.
The Kinks are one such band. Growing up as a rocker, I was aware of their hits and the overall narrative of their career. As an adult, I wanted to start with a compilation. When you have a band with a career as long and varied as The Kinks, I very much enjoy getting a snapshot of the whole thing rather than pick off albums one by one. Sony’s double disc Essential Kinks is 48 tracks of rock from 1964 to 1993. It’s a rather monolithic slab, but it does tell a story.
The beginning is hard and ragged British invasion rock and roll, and the road is windy. Whether you know these tunes from movie soundtracks (“Nothin’ in This World Can Stop Me Worryin’ ‘Bout That Girl”) or Van Halen riffs (several), many songs are familiar. Early on, their pop and rock stylings could be compared with equal respect to that of those Beatles. The songs are just as unique, memorable and British. The charismatic vocals of Ray Davies immediately capture the imagination. His knack for melody is uncanny. As time goes on, their music becomes more unique and conceptual, but no less captivating. It is here that I discovered my favourite Kinks song, “Apeman”.
Perhaps I shouldn’t be too surprised that I already knew many of these songs as covers. Queens of the Stone Age did “Who’ll Be the Next in Line”. Def Leppard did “Waterloo Sunset”. The Jam tackled “David Watts”, and made a hit out of him again. I can also hear a lot of Dave Davies’ guitar in the rock bands that followed. There is no denying the influence of the Kinks.
The only imperfection with this compilation is that live tracks are substituted for studio ones on “Lola”, “Till the End of the Day” and “Where Have All the Good Times Gone”. You’ll tell me “just buy the albums, then” and to that I respond, “OK”. (“Lola” live is a single B-side.)
I’ll be lazing on a “Sunny Afternoon” with the Kinks.
I like to describe some of my older friends who passed on their rock knowledge to me as “Jedi masters”. The first “Jedi masters” of rock in my life were neighbors Bob and George, who got me started. I taped a lot of albums off those two guys until I no longer needed their guidance. I built a killer collection, but at Laurier University I met my next Jedi master.
His name was Rob, and he has appeared in these pages before. Rob was the star of Record Store Tales Part 32: Pranks. He’s always been a little bit of a prankster. At school, he was an assistant in the Philosophy department. He told me about a prank involving a $100 bill being taped to a classroom ceiling, and observing the confused expressions. He liked to prank me in the Record Store too. In addition to the Deep Purple joke from Part 32, he also liked to sneakily move discs all over the store. He enjoyed watching me try and figure out what was changed. He kept everything in plain sight, just the wrong spots. Rob was good for a laugh. He actually went to highschool with the store owner; they are the same age. And don’t worry, Rob didn’t leave without making sure I got all the discs back where they belonged.
I went to the same highschool as those guys, though I was a bit younger. Rob and I had some mutual friends (like Bob), but we didn’t actually meet until University. I recognized him from a Whitesnake highschool air band. Rob played David Coverdale in 1987, but he refused to do a popular Whitesnake tune. Instead he did “Slow An’ Easy” from 1984’s Slide It In, which nobody else at school knew…except me. Rob was disqualified, for doing some very authentic mic stand moves a-la David Coverdale…perhaps a bit too authentic. The school wasn’t impressed when Rob seemed to use the mic stand as a giant phallus, but that’s Coverdale for you. That’s as authentic as a Whitesnake air band could get. He may have been disqualified but he did make it into the yearbook.
Rob’s Jedi teachings involved Whitesnake and Coverdale’s previous band, Deep Purple. We covered the whole family tree from Rainbow to Glenn Hughes and Trapeze. He educated me on the labyrinthine Purple back catalogue. Well before all their rarities were reissued on CD, he recorded songs for me. Whitesnake’s rarities “Need Your Love So Bad”, “You’re Gonna Break My Heart Again”, and “Looking For Love” were among them. He also recorded a couple rare Deep Purple albums – Power House, and The Anthology (not to be confused with the unrelated CD Anthology), with loads of songs you couldn’t find on CD. It was years before these tracks were reissued officially, but I was already familiar with great Deep Purple tunes like “Painted Horse” when they were.
He and I were in touch on and off over the years. I remember a memorable dinner at East Side Marios, when he confused the server by orderings two entrées. He finished one, enjoyed it, and was still hungry so he ordered another. That really seemed to confuse her. Rob also had no use for social pleasantries. He hated when people would ask, “How are you?” when he knew it was just something to say and they didn’t actually want to know. The socially acceptable answer would be “I’m good, and you?” Rob’s answer would be “my psoriasis is flaring up”. I always liked that about him. No bullshit.
I lost track of Rob about five years ago, shortly after I launched Record Store Tales. But he’s still around. My buddy Craig over at 105.7 DaveRocks received a mysterious email from a listener, and it could only have come from Rob.
Hey Craig, I heard LeBrain’s name mentioned today and I wondered whether he could answer that one impossible Van Halen question: when is Van Halen Best Of Volume II going to be released? He couldn’t answer that question back in the [Record Store] days.
Ah yes, the mysterious Van Halen Best Of Volume II that never materialized. Rob remembered! In 1996 when Volume I was released, one of my most hated customer questions was “When is Volume II coming out?”
The frequency of that question drove me nuts. Hey, I get it. Volume I didn’t have your favourite song(s). But Van Halen had a lot of publicity in 1996 due to the aborted reunion with David Lee Roth. It was common knowledge that they were working on a new album with Gary Cherone. Why did so many people assume their next release would be Volume II? Probably because they’d rather buy that than something new. After getting that question over and over and over and over, I began answering “In 18 years.” Customers would be baffled. Why 18 years? Because that’s how long it took them to put out Volume I. I was wrong though. More than 18 years have passed and Volume II is never coming.
I understand why Van Halen wanted to call their best of “Volume I”. It was to make clear that the band was not done; that this was only the first, and they had no plans on quitting. Unfortunately the message that fans heard from that title was “Volume I is half of a whole”. Naming it Volume I was a bad move. People were far more interested in the mythical Volume II than anything new by Van Halen.
It’s funny how something like that can jog a million memories. Rob’s email to Craig concluded:
If you have time for a request can you play Blue Rodeo’s “Lost Together” and dedicate it to LeBrain? Let’s see whether it will jar any memories.
You got me there. I played Blue Rodeo in store a lot, including that song, but no other memories are jarred. Sorry Rob! I’ll have to email him and find out what the story was!*
Nice to hear from the old Jedi masters again. I hope you’re doing well Rob, and I don’t say that just out of social obligation!
* Update: I contacted Rob and found out. His memory is incredible. “I recall you mentioned some of the difficulties you had with [an ex-girlfriend] in relation to communicating with one another. You listened to Blue Rodeo’s song ‘Lost Together’ as a way of making sense of that relationship during that particular time.”
VINNIE VINCENT INVASION – All Systems Go (1988 Chysalis)
Ex- guitarist Vinnie Vincent could have made it big as a solo artist. He had the talent, and the songwriting ability. What he didn’t have was self control. It’s too bad, because his second album was far more accessible than the first. With a movie tie-in with the lucrative Nightmare on Elm St. movie series, the Invasion was primed and ready….
And then the band split.
According to singer Mark Slaughter (on an instalment of the Eddie Trunk show), Vinnie told Mark that was going to fire bassist Dana Strum. “Where does your loyalty lie?” he asked the vocalist. Mark told him if Dana was going, he’d rather go with Dana. So that’s what happened. Mark and Dana formed the successful Slaughter, while drummer Bobby Rock joined another huge band called Nelson.
This all came as a bit of a shock to fans, who expected the Invasion’s second album All Systems Go to take off. It spawned two singles/videos that were right in sync with popular rock at the time. Vinnie toned down his guitar excesses from the first album, and Mark Slaughter was obviously the kind of frontman born to rock. A damn shame.
All Systems Go wasn’t a skimpy album: 11 tracks plus two CD-only instrumentals. Vinnie took sole writing credit on every track, including the drum solo. For extra fun, the tracks are not listed in order on the back cover and the instrumentals are unlisted. This is a throwback to the way records were sometimes released in the 60s and 70s. The tracks (including the instrumentals) are listed in the correct order on the CD itself. This kinda sucks when you are actually listening to it and want to know which song is playing.
This is the album that lived up to what Vinnie was capable of, although he stated a preference for the first “uncompromised” first album. “I should never have changed singers,” he said without mentioning Mark by name. Mark’s sassy vocalizin’ dominates the album, which might have pissed off Vinnie. His charisma and talent is immediately obvious on the sleazy groove rocker “Ashes to Ashes”. A tight song with a good riff and a great chorus is all you need. Vinnie’s solo is no less impressive, but much more innovative and suiting to the song. Guitar heroism in the making…almost.
“Dirty Rhythm” brings more sleaze: faster, more cowbell and more Sunset Strip. The Invasion had more talent than the average glam rock band of the day, and so this is pretty exceptional stuff for the genre. Where they really succeeded was with the radio friendly stuff. The Freddy Krueger crossover ballad “Love Kills” should have been massive. We the benefit of hindsight, we can see that Mark Slaughter was born to be a star. He was absolutely the right singer for these songs.
Goofy title aside, “Naughty Naughty” is a decent return to sleazy glam, and “Burn” rocks similarly. “Heavy Pettin'” is an even worse title, concealing another good glam rocker. Perhaps lyrics weren’t Vinnie’s greatest talent, but there’s not much else wrong with it. Guitar heroism returned on “The Star-Spangled Banner”, played by an orchestra of electric guitars! It’s an apt intro for “Let Freedom Rock”. It’s over the top fun, and the guitar solo would make Yngwie pee his leather pants.
The other single “That Time of Year” was just as good as “Love Kills”, if not better just because it’s not as dark. Its midtempo rock pseudo-ballad stylings were instantly likable. It’s easy to imagine it as a hit, despite a glut of soundalike bands in 1988. Vinnie’s solo verges of majestic. It’s really hard to imagine was he didn’t like about this album. It’s not a bad thing that the songs dominate over the solos; the solos are more impressive when they serve the song.
Had the band not split, and if they released a third single, it could have been “Ecstasy”. Don’t forget, Vinnie wrote “Tears” which was a pop hit for John Waite, and even recorded by Peter Criss. “Ecstasy” is its spiritual sequel. “Deeper and Deeper” also has pop qualities, but is clearly a rocker. The point is this: don’t underestimate Vinnie Vincent.
Out of the blue, the LP/cassette version of the album ended on heavy shred metal. “Breakout” kicks ass. If fans felt at any point that the album was going soft, then “Breakout” would have redeemed it for them. The only real issue is a problem on many of the songs on this album: the production. It’s thin, and the backing vocals tend to be shrill. “Breakout” could be rib-busting with more crunch.
On CD, there are two instrumentals to close. “The Meltdown” is a messy cacophony of drums and electronics. You’ll be thankful it’s over. Stick around for Vinnie’s acoustic tune “‘Ya Know’ – I’m Pretty Shot”. What a diverse and schooled player he is. From classical fingerpicking to blues and traditionals, is there anything he couldn’t do with just six strings? Years from now, this is what Vinnie should be remembered for. This one acoustic instrumental should establish him as a genius on the same level as Randy Rhoads and Yngwie Malmsteen.
Potential was almost fully realized here. If the sound was thicker and the disc was trimmed for length, All Systems Go would be fully classic.
By now, surely you have heard that Gene Simmons is finally releasing his massive 150 song boxed set, The Vault (1966-2016). Gene has been talking about this box for over a decade, under the previous working title Monster. Entirely unreleased, these songs are a treasure trove of things that fans have wanted for years. Gene’s Love Gun-era Van Halen demos? Supposedly here. Along with “Feels Like Heaven” and dozens of tracks we’ve wanted in official quality. In other words, The Vault box set is as much a must-have as the original Kiss Box Set itself. A full track list has yet to be released, but we can be assured that there will be music that we have long sought on Vault.
Gene likes to promote his big ticket items in terms of what they weigh, as if that’s a reflection of value. Vault comes in a safe that weighs 38 pounds. The box also includes:
10 CDs, 150 unreleased songs
In Gene We Trust “gold” coin
The very first Gene Simmons figurine without makeup (also without any articulation)
Deluxe book containing over 50,000 words and 160 pages of unseen photos from Gene’s personal collection
A “hand selected personal gift” (no exchanges)
All this for only $2000 USD.
“But Gene,” you might be thinking to yourself, “that’s not enough. I want more!”
If you want more, you better be prepared to pay for it.
For $50,000, Gene will deliver your copy of Vault right to your home. It’s called the “Vault Home Experience”, but only available in the United States:
You plus 25 friends get Gene in your own home for two hours
Pictures/videos/autographs
Intimate “Songs & Stories” session and Q&A
Signed “golden ticket”, exclusive T-shirt, USB stick (with song “Are You Ready”), and laminate pass
Each guest gets a laminate and T-shirt
Numbered The Vault (first 300 sold)
What’s that “Songs & Stories” session? This is really “stories about songs”. Gene won’t be singing live. The FAQ states that “if you have an acoustic guitar around, Gene may strum a few tunes for you and your guests.” “If” and “may”.
Don’t have $50,000? That’s OK. For just half ($25,000) you can get “The Producer’s Experience” in one of select US cities.
Buyer and one guest spend one hour in a recording studio with Gene
Buyer’s name appears as an “Executive Producer” on The Vault
Buyer & Gene listen to tracks and discuss The Vault
Photos/autographs (up to four items)
Guaranteed low numbered The Vault (first 500 sold)
Skype call from Gene
Think about it. You and a friend just need to raise $12,500 each!
Finally there is the basic $2000 “Vault Experience”. These are all over the world, including two in Toronto (May 2018).
Gene hand delivers The Vault
Buyer and a guest meet Gene
Photos/autographs (up to two items – more “if he has time”)
Gene performs an intimate “Songs & Stories” session and Q&A
Signed “golden ticket”, exclusive T-shirt, USB stick (with “Are You Ready”), and laminate pass
It pays to read the language of this. Gene’s “hand delivery” of the box set is really just you going to pick it up from him in one of a few select cities. I picture it like Santa Claus at the mall. Stand in line, get your few minutes with the old guy, a picture and your present (Vault). The only true “hand delivery” is available for $50,000. It’s also important to think about all the different activities squeezed in to a short period of time for you and all the other buyers. Each buyer is only allotted five minutes with Gene.
If you and 24 (American) friends pitched in $2000 each, you could in theory throw a two hour home party starring Gene Simmons. That could make for a pretty cool bachelor blowout. You’d still have to figure out who gets The Vault box set when you’re all done. Maybe you could share it, with everybody getting it two weeks a year! It’s your money, it’s entirely up to you.
Is it worth it? I am sure these experiences will be sold out. What if you can’t make it out to one of the Vault Experience locations? In lieu of meeting Gene, you can have it shipped normally.
$2000 is a lot of money to most of us. We music collectors are not loyal to just one band. Gene may have released his box set, but other bands are also vying for our dollars. This Christmas, Max Webster, Bruce Dickinson, the Sex Pistols, Whitesnake and more will have new box sets to sell. Are we to budget all our money to just Gene this year?
I cannot. I love Kiss, but not just Kiss. No other artist I’ve ever loved has asked this much money for unreleased demos. Yes, let’s put this into perspective. It’s not the Wu-Tang Clan selling a new million dollar album to some pharma-jackass. These are unreleased demos — stuff that either was never intended for release, or weren’t good enough for albums. Incredibly desirable to collectors, but artificially inflating the price to $2000 not only puts them out of reach, but exaggerates what you’ll be getting inside. To fans and collectors, it might be worth the money. Play the songs for your buddies and they might wonder why the hell they were worth $2000.
At the end of the day, I just want the music. An official, physical copy of the music. At $13.33 per song, Gene is asking way too much for unreleased demos and a bunch of knick-knacks I wouldn’t buy otherwise. I can’t pay that much, even for unreleased Kiss.
BILLY CONNOLLY – Live in New York (2010 Rykodisc DVD)
mikeladano.com 