REVIEW: Harem Scarem – Live in Japan (1996)

scan_20170221HAREM SCAREM – Live in Japan (1996 WEA)

Three albums seems to be the industry standard before you can release a live one.  Harem Scarem followed suit and issued Live in Japan right after their third LP, Voice of Reason.  It was their first with new bassist Barry Donaghy, replacing Mike Gionet.

Live in Japan is a safe, fairly compact selection of tunes from the first three.  It could use less Voice of Reason, an album which never boasted the killer tunage from the first two.  In fact if one edited out “Blue”, “Candle”, “Breathing Sand”, and “Paint Thins”, you could make a pretty tight set.  Leave in “Warming a Frozen Rose” though; it was always the best of the Voice of Reason tracks.  You can also leave in the title track as it’s pretty heavy.  Most of the real firepower comes from Mood Swings.  The opening salvo of “Change Comes Around” and “Saviours Never Cry” are a rousing start to the proceedings.

Live, Harem Scarem were tight.  Their harmonies are handled easily by the four guys, all capable singers.  Harry Hess’ roar is not lessened by the road nor jet lag.  He’s as powerful here as he is on record.  This is necessary for amped rockers like “Had Enough” and “Empty Promises” from Mood Swings, both very strong.  There is only one song from the 1991 debut album Harem Scarem. Representing Harem’s early pop rock roots is “Slowly Slipping Away”; call it a power ballad or just call it a song.  It feels like it has too much guitar to be a ballad, so call it what you want: it’s great.  You can clearly hear Barry Donaghy’s contributions on backing vocals, an essential part of the song’s hookiness.  The live set closes on “No Justice”, the best known track from Mood Swings and an obvious crowd favourite.  The vocals are just outstanding from the whole band.

There are two bonus studio tracks on this album, a nice little unexpected treat.  The first, “Pardon My Zinger” is a peppy instrumental the likes of which you expect from guys like Joe Satriani.  Not so much for guitar trickery, just in terms of composition and hooks.  The last track is a new ballad called “More Than You’ll Ever Know”.  It has since been reissued on Japanese compilations such as Ballads and B-Side Collection, but this live album is the easiest place to get a copy.  As far as ballads go, this one’s not bad.

For fans who didn’t get into Voice of Reason the way they did the first two, Live in Japan offers a bumpy ride.   There is little question that the recorded performance is freaking amazing.  It just comes down to the songs and personal taste.

3/5 stars

REVIEW: Harem Scarem – Live and Acoustic (1994 EP)

Part 1 of a Harem Scarem triple play!

live-and-acousticHAREM SCAREM – Live and Acoustic (1994 Warner EP, autographed cover pictured above)

Nothing wrong with releasing an EP in between albums, right?  Certainly not.  In Harem Scarem’s case, they collected some rare stuff and released it as an EP to tide fans over until album #3.  A strong album like Mood Swings deserved a little follow-up, to present some of its material live.  Recorded in Toronto, “No Justice”, “Hard to Love” and the instrumental “Mandy” kick it hard.  Here is the proof that Harem Scarem could pull of their thick harmonies live.  Having four singers in the band didn’t hurt, and Pete Lesperance’s guitar flourishes add the necessary pyrotechnics.  His solo spot on “Mandy” is a nice moment to spotlight a very under appreciated player.  Accompanied by drummer Darren Smith, “Mandy” is transformed live into something a little bigger.  “Hard to Love” is beefier than the version from the band’s first album, thanks in no small part to Smith’s ample backup singing.

The three live tracks and the included single edit of the ballad “If There Was a Time” are all taken from the CD single for that song.  “If There Was a Time” is one of the band’s most complex ballads, so an edit probably made it a bit more digestible to the masses.  For added value, two acoustic versions and one more single edit “Something to Say” from the first album) are also included.  The single for “If There Was a Time” is much rarer, so it was nice of Warner to release these things on something with better distribution, according to the back cover, this seems to have been done in collaboration with Warner Music Japan, which would explain why the it looks like a Japanese import from the side.

The acoustic tracks are fantastic:  “Jealousy” always seemed like it would be great in the fully-acoustic format.  It’s a great little acoustic jam, with Harry Hess showing off his impressive pipes much more so than the album version.  The other acoustic version is “Honestly”, which is cool, because that hit ballad was original arranged for piano and keyboards.  This version is done for acoustic guitars, which makes it less lush but more (pardon the pun) honest.

Looking back to 1994, it was reassuring to see new Harem Scarem product on the shelves at a time when there was no certainty for bands of their ilk.  Live and Acoustic was no exploit EP, as was unfortunately common.  It presented a smattering of rarities collected together in one easy package.  The single edits are not crucial, but it’s a seven song EP so it’s easy to look at these as just an added bonus.

4/5 stars

#550: The Toy

GETTING MORE TALE #550: The Toy

The worst thing about running a “family oriented” used CD store was kids.  Not every kid mind you…just the ones that weren’t attended to by their parents.  Toddlers, seven year olds…whatever. They were hell to deal with, because nine times out of ten, the parents would rather scour our shelves looking for John Mellencamp discs than make sure their kids weren’t destroying the store. T-Rev used to say “People should need a license to have kids,” after witnessing the destruction they can unleash when parents don’t give a shit.

So, some typical store activities for kiddies:

  • Taking discs off the shelves and putting them elsewhere.
  • Running behind the counter and grabbing discs there.  This was especially troublesome.  Discs were in numbered slots.  If Junior takes the disc out and throws it somewhere, you have to look it up in inventory to see what slot it was supposed to be in.  How do you do that with a CD that has no title or artist printed on it?  Happened more frequently than you think.  I called those discs “lost soldiers”.
  • Just running behind the counter because why not.
  • Screaming.
  • Throwing things.
  • Spilling food or drinks.
  • Trying to attach themselves to my legs.

Talking to the parents was useless. They’d usually yell something like, “Stop that!” before turning their backs to look for some Tim McGraw discs.

So we came up with a plan to deal with it. A little toy for the kids to quietly play with in the corner! A little hobby center for the toddlers. A few kids did play quietly with it, while others just fought over it. Battles, screaming, with parents deeply immersed in the Bargain Bin looking for MuchDance ’98.

Within two weeks, the toy had developed a gross, slimy coating that you couldn’t clean off. It was disgusting; it looked like kids had been licking it (they probably were). And wouldn’t you know it? The lovely children that used to throw things around the store found something new to throw: the toy and its parts! It could and did end up anywhere in the store. Including begind the counter.  We bought that toy so kids would be occupied and leave us alone. The damned thing was way more work than it was worth.

What a disaster. I hated that fucking thing.

REVIEW: Stephen Pearcy – Smash (2017 with bonus track)

NEW RELEASE

scan_20170226-2STEPHEN PEARCY – Smash (2017 King records, Japanese bonus track)

Everybody needs a little Ratt N’ Roll in their lives.  How much is up to you.  It’s like salt & pepper — season to taste.  But it’s been a while since Ratt released the fine comeback Infestation (2010), and we’re getting the cravings again.  Ratt’s lead throat Stephen Pearcy must’ve known this, because here comes his excellent solo album Smash.

You can hear Zeppelin bleeding through the intro to “I Know I’m Crazy”, and the word “Zepp-ish” comes up again and again when listening to this CD.  Much of the time this is due to the big big performance by ex-White Lion drummer Greg D’Angelo.  “I Know I’m Crazy” has a bit of the new and a bit of the old:  modern drony guitars, but a punchy Pearcy chorus.  Stephen is wise to not just copy Ratt (there are enough people trying that), but to go beyond that sound and into something a little out of left field.  Then if you’re craving those big rawk guitar riffs, “Ten Miles Wide” offers one o’ those and a brilliant chorus to boot.  Guitarist Erik Ferentinos nails a cool George Lynch vibe on one hell of a smoking solo.  But then it’s fully down Zeppelin alley with slippery slide guitars on the impressively authentic “Shut Down Baby”.  “What Do Ya Think” also has that swampy Zep vibe, very Page-y.

With 13 tracks on the standard CD edition, there is plenty of rock, but an artist can always run the risk of an overly-long album.  Not so with Smash!  Stephen Pearcy has the goods, and a diverse batch of songs.  None drag or overstay their welcome; the standard album runs at 47 minutes of diverse rock.  Check out “Dead Roses” for a tune with a heavy Skid Row grind.  “Jamie” and “I Can’t Take It” too rock hard, with roots still in 80s metal.  Then there’s a sleazy Aero-Ratt called “Lollipop” that fits right in.  You can count on a thick, strong sound throughout — check out the slamming and riffy “Want Too Much”.  Bassist Matt Thorn co-produced the album with the band.  Track after track, expect meaty guitars, full sounding drums, and sassy signature Pearcy lead vocals.  There even a power ballad:  “Rain” is awesome, tough and would have been a massive hit in 1985.  Closer “Summers End” is less a ballad and more music for a dark sky.

Of course you don’t have to buy the Japanese version to get Smash, but when you just can’t get enough Pearcy, the import offers an acoustic mix of “What Do Ya Think”.  The song works very well as an acoustic jam session.  Fans would be advised to check it out and choose which version they like best.  However you get it, be sure to get Smash, a fine start to 2017.

4.5/5 stars

Sunday Chuckle: Aliens

My dad really likes Giorgio Tsoukalos — you know the guy? The dude with the crazy hair from Ancient Aliens who always has the same conclusion: “Could it be…aliens?”

I try to get my dad to be a little more skeptical and use his critical thinking skills when it comes to that show. After all, not everything is just explained by saying “aliens”. Dad argued back that “Giorgio Tsoukalos is an expert and knows what he’s talking about!” So I Googled him to see if that’s true. From Wikipedia’s sourced article:

Tsoukalos is a 1998 graduate of Ithaca College in Ithaca, New York, with a bachelor’s degree in sports information and communication. For several years he worked as a bodybuilding promoter and a volunteer in IFBB sanctioned bodybuilding contests, including Mr. Olympia. He produced and directed the annual San Francisco Pro Grand Prix in years 2001-2005.

Sorry dad!  You lose this time.

REVIEW: Duff McKagan – Believe In Me (1993)

scan_20170213DUFF McKAGAN – Believe In Me (1993 Geffen)

In 1993 Duff McKagan was not clean yet, at least not for good.  It would take a critical medical emergency for him to get close enough to death and stop drinking.  The cover of Believe in Me, a skeletal Duff bathing in a martini glass, reflects the last of the old Duff.  It was his solo debut, following Izzy but before Slash.  Guns’ own Spaghetti Incident? hit the shelves two months later, as the end of the original band creeped on the horizon.

Fans were probably experiencing a bit of Guns overload.  Two albums, two live concert video tapes, loads of touring and music videos…Guns were everywhere from 1991-1993 and then it was the dawn of Guns solo albums.

Duff’s solo debut was a grab bag of different styles:  punk, rock, funk, jazz and ballads.  It was also loaded with rock star guest shots:  Lenny Kravitz and Sebastian Bach sang one song a piece.  Dave Sabo and Rob Affuso from Skid Row joined Baz on the album while Slash laid down a couple trademark dirty guitar solos.  Jeff Beck dropped by, and just about every Guns member except Axl himself contributed.

Despite Duff’s ambition, the best tracks tend to be the rockers.  Opener “Believe in Me” was a very Guns-like single:  short, sweet, catchy and with a Slash guitar solo to hit it home.  “I Love You” isn’t a ballad despite the title, in fact it’s a rocker and perhaps the best tune on the album. “Just Not There” also rides the GN’R train, normally bound for hitsville.  Sebastian Bach’s “Trouble” is plenty of fun, and Lenny Kravitz gets angry on “The Majority”.  These songs would have made a fine basis for a Guns album, but Axl wasn’t looking for songs that sounded like Guns N’ Roses.

An angry “(Fucked Up) Beyond Belief” (a song birthed from GN’R rehearsals) is noisy punk-rap, while “Fuck You” itself is basically a rock rap song featuring a guy named Doc.  “Punk Rock Song” is exactly what it claims to be, but isn’t particularly memorable.  The biggest mis-step is the muted trumpet jazz number, “Lonely Tonight”.  At least Duff was trying something different, but his vocals and lyrics leave a lot to be desired.

During the period that Guns N’ Roses were inactive or just working behind closed doors, a lot of these solo albums really represented an alternate universe.  “What if the original members didn’t leave and instead recorded a new album?”  It’s possible these songs or songs like them could have been on that hypothetical album.  Instead, Believe in Me was a launch pad for plenty of Duff projects and albums:  Neurotic Outsides, 10 Minute Warning, Loaded, Velvet Revolver and many more.  Duff has proven that clean and sober, he can be one hell of a prolific songwriter.  Believe in Me is a good introduction to the many stylings of Duff McKagan.

3/5 stars

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#549: E-Commerce Dawning

GETTING MORE TALE #549: E-Commerce Dawning

I had been trying to get out of the storefront for a while. As a manager you can only take so much retail in a lifetime, even in the Record Store. My reservoir for dealing with the public in a buy/sell situation only had about five or six years in it before I was running on pure fumes. Fortunately e-commerce was becoming a dominant force and I was chosen to manage our new website. It was a good website.  The boss knew what he wanted, and didn’t settle for less.  He listened to feedback and relentlessly tested the site.  It was a challenge since our inventory was changing minute by minute, and technology hadn’t caught up to our needs yet.  When it was finally ready to go live, it was a slow start.  It began as a one man operation.

I was sent out to do some research. The boss sent me to an e-commerce convention at the Waterloo Inn in mid-2000. I returned with plenty of notes and information about how laws would protect buyers and sellers in online sales.

When we first started e-commerce, the website was a part time job. I was still in the store most of the time, because we were only getting 10-15 orders per day. I would have time allotted to go in the back room and get the e-commerce stuff done: processing credit card orders, responding to customers, keeping the books. Customer complaints were infrequent but fun. Often it involved somebody whining that they couldn’t return something because they lost their receipt, or complaining that something was taking too long to come in. Then I’d investigate and get the other side of the story.  There was one guy we all remember that was a constant complainer.  He picked up his orders in-store.  He carried a briefcase with him, and inside that briefcase was a printout of every order he ever placed.

 

The boss told me, “This is your baby, run it however works best for you.” So I did and it went well until it was just too busy for one person to run alone. Then they decided to run the e-commerce thing full time. I was given a small staff of about three people, all people who also worked in store. We had a tiny office to work out of. It had a computer, printer, its own VISA machine and all the supplies needed to ship CDs by FedEx. We learned as we went.

I had a really good staff back there and it was fun juggling that with the store. I worked a lot of double shifts, but I was enjoying it. Things were going well, and over time we got busier and busier.  They decided they wanted a full-time manager for the position.  I was frozen out, and landed back in the store full time. I heard that oft-repeated mantra: “Your time is more valuable to us in the store.”

A couple years’ of work on that website, and suddenly it was pulled away and I was back where I didn’t want to be. My goal was to get out of the store, and I worked hours and hours above and beyond the call of duty to do it. I voluntarily came in on the morning of my Christmas Eve off (year 2000) just to process online orders, so we wouldn’t be slammed by too many when we re-opened. I poured all my energy into it knowing the goal of being out of the store was not far away. Then the floor fell out from under.

They had me transitioning into a new position of being a trainer for new staff and franchisees. That would have been fine except that was a small portion of my time.  The franchising stalled and that meant most of the time I was running a store. Promises of ever getting out had evaporated.

Like many things from the formative years, I had plenty of fond memories of toiling away on that website. Most satisfying was the feeling that I was climbing the ladder and working towards the goal of getting away from the front counter. Apparently the bosses felt that the front counter was the thing I was best at, and didn’t consider other factors such as morale and personal growth. It was like being kicked back to highschool after I’d already graduated and moved on to university.  The ironic thing was one person who eventually ran the website after me was fired for theft. Change isn’t always good.  Maybe they should have left things as-is.

The only song related to e-commerce I could find.

REVIEW: Budgie – Budgie (remastered)

scan_20170211BUDGIE – Budgie (originally 1971, 2004 Noteworthy Productions reissue)

In the early 1970’s, a new young band was rumbling out of Europe with a fresh, sludgy heavy rock sound.  With a debut album produced by Rodger Bain under their belts, they peddled that new style of music often called “heavy metal”, known for its loud distorted guitars and long-haired musicians.

Black Sabbath?  Not this time.  Let’s not forget Cardiff’s own Budgie.

Budgie’s 1971 self-titled debut album demonstrates that the band had already found their own niche.  Lead throat Burke Shelley had the looks and the voice of a young Geddy Lee, but three full years before Rush’s first album in 1974.  They had obvious Sabbathy elements, but without the doom and evil overtones.  They wrote long, groove oriented songs unlike anything Ozzy & co. were writing.  Shelley’s lyrics and song titles ran from unusual to bizarre.  The opener “Guts” is a great example of the strangeness and groove coming together in one addictive sludgy confection.

Budgie were also known for soft acoustic interludes.  “Everything in My Heart” is one, clocking in at less than a minute.  (According to the liner notes, Shelley recalls he wrote this for some girl he liked.)  This acts as a sort of prelude to “The Author” which combines the quiet side with the sludge.  The droning heavy riffage, switching lanes with softer sections, make for a pretty epic Budgie track.  As a power trio, Shelley’s bass becomes the deliverer of many hooks.  However on “Nude Disintegrating Parachutist Woman” the bass joins forces with Tony Bourge’s distorted axe to build a wall of riff.  Both the album and single versions are included on the 2004 deluxe CD edition.  One is over twice as long as the other!  The album cut contains a long Purple-like instrumental section.

“Rape of the Locks” (a satire about a hair cut, get it?) commences with a very Blackmore guitar freakout.  The riffs are more Sabbath, while its jammy aspects remind of the first album by the Scorpions.  Burke Shelley continues the groove on “All Night Petrol”, both punishing and catchy.  “You and I” is another acoustic interlude, 1:42 of Burke trying to be lovey-dovey.  It acts as a reset before the final onslaught:  “Homicidal Suicidal”.  Soundgarden covered this one in 1991 on an obscure B-side.  Perhaps it is the definitive example of the early Budgie sound.  Almost seven minutes of heavy Budgie, drums hammering at the walls while Burke rumbles the foundation.  Meanwhile there’s Tony Bourge with the riff of riffs.

The bonus tracks on this edition are well worth seeking.  In addition to the above mentioned single edit of “Nude Disintegrating Parachutist Woman” there is its B-side “Crash Course in Brain Surgery” which Metallica covered.  This is an unreleased alternate mix of one of Budgie’s best known metal thrashers.  Finally there are 2003 re-recordings by the reformed Budgie composed of Shelley, Steve Williams and Simon Lees.  “Parachutist Woman” and “Guts” are very different from the originals, although the arrangements are pretty much the same.  It’s just a matter of different musicians and 32 years!

The Budgie remasters can be expensive to track down, but well worth it.  May as well get all the extra tracks if you’re going to hunt for some Budgie.

4/5 stars

REVIEW: Faith No More – Angel Dust (deluxe edition)

Previously on mikeladano.com….

Faith No More’s deluxe edition reissue program began in 2015.  Two years prior to that, we reviewed two editions of Angel Dust:  An Australian 2 CD set with a bonus EP called Free Concert in the Park, and the 2 LP version with a “MidLife Crisis” remix.  For this Angel Dust deluxe edition review, we will be incorporating old text from that review into this new one.  We also reviewed the 2 CD single for “Everything’s Ruined”.  Those tracks are also on this deluxe, and we will borrow text from that review as well.

scan_20170205FAITH NO MORE – Angel Dust (originally 1992, 2015 Slash deluxe edition)

Incredibly anticipated, and massively misunderstood:  Angel Dust separated the fans from the wannabes.  Reviews were mixed.  M.E.A.T Magazine’s Drew Masters awarded it 2/5 M’s and failed to grasp the genius that is the chaos within.  It certainly is an ugly duckling and will take more than a listen to reel in anyone.  Faith No More wearied of the “funk metal” tag and sought to distance themselves from it.  Importantly, Mike Patton dropped the nasal tone he utilized on The Real Thing.  Instead he unleashed his full voice in all its extremes.  With enviable range and power, Patton pushed his capabilities to their furthest limits.  Meanwhile, guitarist Jim Martin and the band were butting heads, and most of the songs were written without him.  Mike Bordin, Roddy Bottom and Billy Gould would send him virtually complete songs, which he then “grafted” guitar parts onto.  In a guitar magazine interview, Martin stated that he thought some of the songs were better before he added his own parts.

Angel Dust commenced with double shot of weirdness:  “Land of Sunshine” and “Caffeine”.  Patton pieced together the lyrics to “Land of Sunshine” from a collection of fortune cookies.  Musically it is dramatic, keyboard heavy and foreboding.  “Caffeine” is dark and aggressive, but is Patton’s first bonafide knockout vocal on the album.  From the ominous, gravelly lows to off the wall screams, Patton delivers it.  His voice knew no limits on Angel Dust.  A year prior, he released the debut album by Mr. Bungle.  There is little question that this must have demolished any vocal inhibitions he had with Faith No More.

The first single “MidLife Crisis” was about as close as it got to a commercial track.  You can certainly hear every nu-metal band in the world (Korn! I’m looking at you Jonathan Davis!) ripping off Patton’s gutteral vocal stylings.  But he lets it soar in the choruses.  The bizarre pseudo-rapped  verses, the samples, and the anthemic, layered choruses all pointed to new directions for Faith No More.  The ingredients had never really combined like “MidLife Crisis” before, although 1991’s “The Perfect Crime” hinted at some of these elements.

Perhaps the most bizarre song (there are many more coming) is “R.V.”  The lullaby-like piano backs a grizzly soliloquy from Patton, via Tom Waits, playing a trailer park trash character.  “Somebody taps me on the shoulder every five minutes.  Nobody speaks English anymore!  Would anybody tell me if I was gettin’…stupider?”  Once the novelty value wears off, it’s still a memorable tune due to the powerful choruses.  Patton nails another awesome lead vocal.  “Smaller and Smaller” returns somewhat to more conventional song arrangements.  A repetitive piano hook backs a hypnotic Patton vocal.  The choruses are a bit on the insane side, and then the song deviates into a sample-laden section of challenging rhythms.  Yet somehow the song remains memorable and catchy.  This is followed by the single “Everything’s Ruined”.  It must have been chosen because it is a solid mix of aggressive rapping with a memorable soul-influenced chorus.  While it doesn’t sound like it would have been on The Real Thing, it’s about as close as Angel Dust gets.

“Malpractice” is one of the most delightfully messed-up tunes on the album, a mixture of disjointed sections, noisy guitars, smooth keyboards, feedback, all simmered to perfection.  By the time Patton’s screaming, “Applause, applause, applause, APPLAAAAAUUUUUUSSSSE!” we’re already clapping.  This song was a Patton baby, which explains it.  Certainly, the lullaby after the two minute mark is designed to lull you in before they hammer you with more guitars, samples and screams.  This closed side one.

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“Kindergarten” introduced side two with the sound of Patton barking thoughts about the ol’ schoolyard.  There’s no guitar solo, but Mike Patton muttering musically into a megaphone fills the void where the solo would go.  This is followed by Billy Gould throwing down a bass solo, and into the final verse.  The weak-willed will shudder before “Be Aggressive”, a graphic series of metaphors about swallowing.  This discourse is accompanied by a cheerleader chorus.  Jim Martin turns in a sloppy, Pagey guitar solo, the only one on the album.

After assaulting the listener with a song like that, “A Small Victory” is a welcome respite.  Its simple but bountiful melodies are perfect to soothe the ear canal.  This is also to prepare you for “Crack Hitler”, another bizarre sensory overload.  Funky bass meets distorted rapping, until it swerves into this weird, evil march.  Patton’s vocals run the gamut from light, to dark and monstrous. Even so, Jim Martin’s contribution “Jizzlobber” is the most extreme song of them all.  It has those creepy Friday the 13th keyboards, heavy guitar riffs and pounding drums, and Patton’s most aggressive lead vocal yet.  You don’t know what the hell he’s singing without the lyric sheet, so just be enveloped.  It’s just a pummeling assault, and unprepared listeners may find themselves overwhelmed and perhaps turned off from the album by this point.

The standard album ended with “Midnight Cowboy” supposedly because of some obsession that Billy Gould had with its storyline.  It’s a perfectly appropriate ending given the rollercoaster ride that preceded it.  It’s you, wandering off into the sunset, too wasted to really know if you’re headed in the right direction.  Just keep walking.  Some editions of the album (including this deluxe) added the cover of The Commodores’ “Easy” as the final track.  There are a couple different mixes of “Easy” out there, and this is one is from The Very Best Definitive Ultimate Greatest Hits Collection.  The horns are missing, the drums have more echo added, and Mike Patton speaks at the beginning.  The song is rendered remarkably straight, and it’s a performance like this that truly demonstrates Mike Patton’s vocal mastery.  The original version (the “Cooler Version”) with horns opens disc two, the bonus tracks.  It can also be found domestically on the EP Songs To Make Love To.

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Also from that EP is the bizarre German-language speed-polka “Das Schutzenfest”.  This is a novelty track, shits n’ giggles, nothing more.  A good laugh but unimportant.  The Dead Kennedys’ “Let’s Lynch the Landlord” was also released on the Songs To Make Love To, but it was originally on a compilation called Virus 100.  Jim Martin wasn’t there and the song is performed as a quartet.  An underwhelming acoustic performance, it sounds a little like the Faith No More of the future as Patton adopts a lower singing style.

The real treasure on disc two and rarest of the all is “As the Worm Turns”, a Japanese bonus track for that long out of print edition of Angel Dust.  “As the Worm Turns” was one of the most stunning songs on Faith No More’s debut We Care A Lot, with Chuck Mosely on lead vocals.  A full-throated Mike Patton re-recorded it for this bonus track.  Sacrilege?  It is the superior version now.

A couple included remixes are only a sampling of what is actually available on singles. The “Scream Mix” of “MidLife Crisis” is the extended, bass-heavier mix from the 2 LP edition of the album.  The “Revolution 23 (Full Moon) Mix” of “A Small Victory” is only one of four versions from a remix EP they released.  Then it is on to the live material, and there are some treasures there.  The live EP Free Concert in the Park, (recorded in Munich) is expanded from four to six tracks.  Mike Patton dedicates “Easy” to “everyone with hemorrhoids this evening!”  The guitar solo spot in “Easy” remains a Jim Martin favourite.  Even heavier and more chaotic versions of “Be Aggressive” and “Kindergarten” follow, replete with surprises.  The early obscurity “Mark Bowen” is another Mosely song given the Patton treatment live, adding his own spin and abilities.  Two tracks are added to the proceedings:  “A Small Victory” and “We Care a Lot” from the same show.  These live versions really hit the spot, as they are really cranked up, and “We Care a Lot” contains a segue into “Jump Around” by House of Pain.  It’s a shame the live recording is so tinny.   These tracks were also released on CD singles for “Easy” in Europe.

FNM RUINED_0004

Up next are the four live songs taken from the double “Everything’s Ruined” single, all recorded in September 1992.   “MidLife Crisis” is growly and impressive, and “Land of Sunshine” is amped.  “Edge of the World” is the point when the audience is asked to sing along, with Patton yelling “Fuck me harder!”  The trailer-trash-talk of “R.V.” sounds a little laid back live; something’s missing.  It would be much better with the full visuals of a Mike Patton performance.

The deluxe edition concludes with an outtake finally restored to the album it was written with:  “The World is Yours”.  It was originally made available on Who Cares A Lot? The Greatest Hits in 1998.  Like Angel Dust itself, it is sample heavy.  Marching soldiers and trumpeting elephants join Roddy Bottom’s ominous keyboards in a symphony of WTF.  It is a fully formed recording, with effects-laden vocals fully mixed and finished.  It would have fit the more experimental and anti-commercial direction of the album perfectly, but not without making the album overlong.

Angel Dust, unlike the more successful The Real Thing, has a timeless sound.  It is a once in a lifetime album, a perfect meeting of disparate elements.  Jim Martin was ejected after this, and never again would his heavy metal guitars be grafted onto the sonic experiments of Faith No More.  A pity, but they have since moved on even more expansive sounds.  Angel Dust in some respects can be considered the real debut of Mike Patton in Faith No More.  A triumphant one it is.

5/5 stars

 

Gallery: The Lego Cassette Project

Did you watch cartoons in the 1980s?  If you, you probably remember the Transformers.  Think back, and picture the cassettebots.  Remember them?  Soundwave (Decepticon) and Blaster (Autobot) were the cassette recorders, each with an arsenal of cassette mini-robots to back him up.  Using an advanced alien technology called “mass shifting”, these giant robots could shrink down to the size of an actual cassette, thereby enabling them to spy unnoticed on human and robot alike.  As affordable toys, you may have had some yourselves.  The neat thing was these cassettes designed by Japanese company Takara were designed to perfectly mimic the size and shape of actual micro cassettes.  On the TV show and in the pages of the Marvel comic book, they were depicted as standard sized cassette tapes.

cassettes

Third party company Toyhax (also known as Reprolabels) has come up with some fun ways to enhance your cassette-bot toy collection.  Recently they released a set of plastic engines and stickers for the current Buzzsaw and Laserbeak toys in the 2016/2017 Hasbro Titans Return line.  This time they transform into little media players.  Fans always complain that Hasbro toys “don’t look enough” like the original 80s toy they are an homage to.  Toyhax has created the labels and engines to enhance the current toys, and enhance them they do.  The new accessories even enable new modes, like the “Star Trek communicator” see below.

Toyhax have also released a sticker set that enables you to use ordinary Lego bricks to create you own shrunken-down cassette versions of characters both popular and obscure.  All you need  are those small 1×2 flats.  You know the ones I mean?

lego

Don’t have any of those just lying around anymore?  Get this.  You can buy them, picked to order, for just pennies a piece.  You can pick as many of any colour you like.  Mix and match the stickers to get the best looking mini cassettes around, and perfect for your Masterpiece scale figures to hold.

They look great, and it’s a fun little project you can do with very little cost.  They enhance any solid Transformers Masterpiece collection as scale accessories.  See below with Fans Toys’ “Tesla” (aka Perceptor), they look just perfect!