It’s a late start, but welcome to Purple Week! It’s going to be all Deep Purple and Deep Purple alumni all week to Saturday, with at least two Epic Reviews lined up. Let’s go!
DEEP PURPLE – Shades of (1968 EMI, 2000 remaster)
I’m not a big fan of Shades of Deep Purple, and that’s not because I don’t like Deep Purple Mk I. I do like Deep Purple Mk I, or at least some of it. I think the third Purple album from ’69 is one of the band’s all-time best, and an underrated classic. Shades of only scratches the surface. In 1968, these five guys didn’t have the road experience together yet to really gel as a unit. They had just formed and almost immediately began recording demos that landed them a record deal. Ritchie Blackmore, a session player, had yet to emerge as the confident axeman that he is, still shyly putting together his solos while Jon Lord takes the forefront more often than not.
Deep Purple opened their very first vinyl with an instrumental. “And the Address” is remarkably recognizable as Deep Purple, particularly because of Ian Paice and Jon Lord.
“Hush” was and is still an extraordinary version, and my preferred take over the 1988 Ian Gillan version. “I’m So Glad” isn’t bad, but “Mandrake Root” is not what it would later become live. “Help” has been slowed down to a crawl (reportedly, the way the Beatles wanted to do it) but it doesn’t rock. “Love Help Me” is 60’s pop rock goodness, as is “One More Rainy Day”, but “Hey Joe” is another one that would come across better live. It doesn’t help that Shades of Deep Purple doesn’t really sound that great.
The five bonus tracks are all valuable, as these are some of Purple’s earliest live performances. Something like “Hey Joe” live (from the BBC) begins to show what the band would make of it. There’s also the rare track “Shadows” which is better than some of the tracks on the album itself. This outtake probably could have used a little additional polishing, but it is what it is, and it’s worth checking out if only for Ritchie’s solo. The audio fidelity on these tracks is sketchy, be forewarned. That shouldn’t be unexpected for demos of this age.
2/5 stars. Hold tight, rock fans — a year later, the best of Mk I was yet to come!
RECORD STORE TALES MkII: Getting More Tale #364: Greatest Hits
Love ‘em or hate ‘em, greatest hits records have been around for as long as rock and roll has. Elvis’ Golden Records, one of the most famous early greatest hits albums from 1958, has sold over 6 million copies. Some believe it to be the very first greatest hits album, ever. Elvis only had four albums out at that point, one of them a Christmas record. It was a selection of Elvis’ single A’s and B’s, and its success meant that it would be followed by many sequels. (Interestingly, five hits on it were composed by the duo of Lieber and Stoller!)
A couple decades later, the Eagles released their best selling album of all time. Their Greatest Hits (1971–1975) has sold over 42 million copies to date, and is the third highest selling album in history. Not long after, Aerosmith released their first Greatest Hits, a collection of single edits and radio versions of their best songs, and one non-album track (“Come Together”, from Sgt. Pepper’s Lonely Hearts Club Band soundtrack). It has sold over 11 million copies.
These releases, and many more, have made greatest hits discs a lucrative cash cow for record labels. On it on it goes; you’re not a success until you’ve released your first greatest hits disc. Some bands have always resisted releasing collections of pre-existing music, others have not put such value in their integrity. Hits albums are usually looked at with disdain by the die-hards and “purists”, but make an easy gateway purchase for people not (yet) interested in the discography.
Why do die-hard fans look down on hits albums so much?
1. A more recent practice from the 1980’s and 1990’s was to include two or three new songs, forcing fans to buy old songs over again just to get the new ones. It’s such a common practice now that it’s expected, but we still resent it.
2. Live versions. Even if we choose to buy or listen to a greatest hits album, a lot of the time the familiar original versions are replaced with inferior live ones. Casual music listeners don’t usually seek live versions, and die hard fans usually already have the live albums. It just serves to make the listening experience less than it should be.
3. While it is certainly not a rule, for the kind of music we listen to, a studio album is often a self contained work, not just a collection of songs. There is usually a direction and purpose for the songs. Listening to songs out of their intended context doesn’t always work, but nine times out of ten, they are best appreciated on the original album.
4. Who else but a die-hard fan would be a better self-proclaimed expert to criticize the song selections on a “greatest hits”?
5. Artistic non-involvement. Few hits albums have any input from the artists themselves. Without the artist contributing, a greatest hits becomes just another product assembled by record company suits, most of the time.
6. Cash grab. Many greatest hits album stink of the whiff of “record company cash-grab”, usually at opportune times.
7. Snob attitude. “Don’t buy the greatest hits! Just buy all the albums!”
MOMOIRO CLOVER Z vs KISS – “Yume no Ukiyo ni Saitemina” / “Samurai Son” (2015 King Records Japan CD singles, sold separately)
Here they are, the new singles featuring the Kiss vs Momoiro Clover Z collaboration. “Samurai Son” appeared on the current Best of Kiss 40 CD, billed there as the “U.S. Mix”. That meant there are other versions out there, so I ordered the singles (two separate releases) from Japan. Even if I did not like the other versions of the song, the single covers were cool enough to keep as collectibles. As it turns out they are printed on high quality textured parchment style paper, and have stunning inner and outer art. They also come with transparent outer shells with shiny embossed symbols and writing. For packaging, it’s 5/5 stars for these singles.
Between the two singles, there are four different mixes from the “U.S. Mix” of “Samurai Son”. All feature Kiss, to a certain degree. Here’s how the versions break down, from “Least Kiss” to “Most Kiss”:
5. “Yume no Ukiyo ni Saitemina”. This is the full-on Japanese version with the spotlight primarily on Momoiro Clover Z. They take the lead vocals and their elements of the song and style and brought up in the mix. It’s funny to hear Kiss singing background vocals in English, underneath the Japanese lead vocals! Who know if the words actually go together in any way.
4. “Yume no Ukiyo ni Saitemina” (instrumental version). Kiss are the backing band on this track and you can clearly hear Tommy soloing, but the Kiss and J-pop elements are mixed fairly equally here. These first two renditions of the song are on both versions of the single.
3. “Samurai Son” (instrumental version). From the CD with the artwork emphasizing Kiss. This instrumental is based on the Kiss rather than the Momoclo version of the song. Tommy is in the spotlight a bit more on this version, as the instrumental mix leaves more room for his guitar licks to take the spotlight.
2. “Samurai Son”. From the same CD as the above track, this is a Kiss-heavy version similar to the “U.S. Mix” on Best of Kiss 40…but not quite the same. It follows the same blueprint of Kiss being up front and the Momoclo girls audible in the background and on the chorus. It has vocal, guitar and J-pop parts that are not as apparent in the “U.S. Mix”. Gene’s vocals also sound higher in the mix. It’s audibly mastered way, way louder than Kiss 40, as you can see from the Audacity waveform below. Track 3 from the CD is on top, the “U.S. Mix” from Kiss 40 is beneath.
1. “Samurai Son” (U.S. Mix). The Kiss 40 version; the mix that is geared to appeal mostly to Kiss fans. Logically, it sounds the most like Kiss. It’s only on Kiss 40; neither of these two singles have this mix which makes it a little more special for Kiss fans.
There are more tracks, but I’ll be frank — I didn’t even rip them to the computer. These tracks are vocals and instrumental covers by Momoiro Clover Z of “Rock and Roll all Nite”. I listened to it; it’s cute. If you want to try and get your little niece into rock music, this might be the way to do it. It has some guitars but it’s very cutesy. (Probably still better than Poison’s version though, Mr. Rockett.)
Finally there is the Blu-ray containing the music video, that I cannot play due to region restrictions. That’s why they invented Youtube, I think….
I give Kiss credit for doing something different like this and making it accessible to different audiences. My favourite version is the one on Kiss 40, but that one was custom built for people like me. These two singles are fun additions to the collection. It’s one of those conversation pieces you can show that one guy you know who says he has “all” the Kiss CDs.
For more reading of this nature, I recommend the1001 Albums in 10 Yearssite, by Geoff. He is always posting interesting musical nerdiness like this so cheers to Geoff and his excellent site.
RECORD STORE TALES MkII: Getting More Tale #363: The Art of the Mix CD
We have come a long way from the mix tape. If you’re of a certain age, you probably made many mix tapes. I know I did. Dozens upon dozens, spending hours doing so. We had to make the tapes in real time. I would meticulously cue up the tapes so there wouldn’t be excessive gaps between songs, or awkward edits. I couldn’t have a song getting clipped at the start or finish. Mix tapes were a matter of pride and I sank a lot of time into making them, from the recording to the J-card. Sometimes the tapes were for me, but most often they were for someone else (usually a girl I was trying to woo).
Making a mix CD is much easier than making a mix tape. Still, for my level of perfectionism, it requires a lot of work and attention to detail. I have certain “rules” that I always adhere to, when making a mix CD. In the past, I have burned and then thrown away many CD copies that did not meet my exacting standards. I would not settle for a mix CD with an annoying flaw in it! My friends deserve better!
Here are my rules:
1. All songs must be more or less equal in volume.
Nothing worse than diving for the volume knob when a song that was mastered waaaay too loudly comes on! Nero has a built-in “normalize” function that analyzes and automatically equalizes the volume on all tracks. However it doesn’t always work well. It can create volume swells within an actual track that weren’t there before. I do not use this feature any longer. Now, I use Audacity to raise or lower a track’s volume manually, before adding it to my mix. Painstaking, but you get better results.
2. All live songs must have fade-ins and fade-outs.
I cannot stand the sound of crowd noise starting and stopping abrubtly. I add my own fade-ins and fade-outs. Sometimes this is tricky, because certain live albums may have the song breaks in odd locations. There may not be enough room at the start or end of a track. So, sometimes I have to manually add in enough crowd noise to enable a fadeout, a time consuming fix. I also enjoy doing the occasional cross-fade between songs, which used to be very hard on Nero but is easy as pie with Audacity.
3. CD must have a start, middle and ending.
All tracks are carefully selected for each one of my mix CDs, but usually there are several contenders for opening and closing songs. I try to create a flow, with slow parts and heavy parts, through the disc, with a dramatic climax. I don’t always succeed but my goal is to create a mix CD that works like an album. It has to have a direction.
4. Throw on a rare track.
It doesn’t matter who I’m making a mix CD for, I want an obscure song or two on there. I don’t want to make a mix CD entirely of songs you already know. I want to surprise you with something I know you’ve never heard before, but will probably like.
5. All songs must be properly labelled.
Don’t you hate getting a CD from somebody without having a clue what’s on it? Every CD I make for a friend comes with a computer generated cover, including full and accurate track list, down to every punctuation mark and detail. Sometimes I’ll even throw some pictures or logos on the cover for fun, if there is room. Nero also encodes the song and artist names onto the CD. So I have to make sure the file names are all done correctly too, because when you pop my mix CD into certain players (like my car deck) you’re going to see the titles come up automatically. This must always be done correctly. No spelling mistakes, or I’d junk it, and make a new one.
And finally, there is the optional not-rule:
6. Optional – Include short, funny bits between songs to surprise the listener.
This only applies in certain circumstances. The “Integrity Mix” CD shown here, with G.O.B. and Franklin Bluth on the cover, has such bits at strategic points. One is the song “Big Yellow Joint” from the show Arrested Development, and the other is the appearance of the “Hot Cops” busting George Michael from the same episode. You can see I wanted to keep those bits a surprise for whoever ends up with a copy, because I didn’t number the tracks and didn’t list the bits. So in a sense they are “hidden” until the listener stumbles upon them.
Are you as picky as I am, or is your quality control as extreme as mine? What are you own techniques in the art of the mix CD?
FLEETWOOD MAC – Live, February 4 2015 at the Air Canada Center, Toronto
Before reviewing the concert I have to give a brief history of my introduction to Fleetwood Mac. In the early 90’s, one of my buddies took out whatever hair band CD was in the player and put in Fleetwood Mac Rumours. WTF is that crap? It sounded like the love child of ABBA and The Eagles! After a while the band grew on me. I wasn’t exactly going to cruise down main street with Fleetwood Mac blasting out the T-tops, but I did start to enjoy it. It became one of my guilty pleasures, and my wife loves them, so this is a bonus.
Fast forward to February 4 2015. My wife and I were early, so we got to our seats before the show started. The band was not on time, but only 20 minutes or so behind schedule. By Axl Rose standards, they were 2 hours early. This gave me time to Google the setlist as I always do before a concert. 24 songs and two encores. 24 songs? Holy crap. I also read reviews of many of the recent shows. All glowing love-fests proclaiming Fleetwood Mac as the next best thing since sliced bread, with nary a whisper of negativity. Well. We shall see about that.
The lights dim and we see the shadows of band members entering the stage. The crowd roars. When the music starts you get a feeling why this band has remained so popular. The rhythm section of this band is awesome. These guys are in their late 60’s, and they still sound incredible. John McVie is the guy that likes to stay in the background. I don’t think I ever saw any hint of showmanship from him, but he played his bass flawlessly, and that is all you can ask. Mick Fleetwood is a really underrated drummer. His talents are not shown off in the mostly pop rock songs that made the band famous, but over the years I have heard enough of his songs to know he has what it takes. And for his age, he still has it. Lindsey Buckingham is a guitarist that wasn’t on my radar: until I saw him live. He was not awesome, but a very unique guitar player. For starters, he does not play with a pick. I have seen many players play acoustic without a pick but not many electric players. His right thumb seems to act kind of like a pick, but his right hand fingers do this kind of spastic fingerpicking that is hard to describe. Kind of like, if he was trying to flick crumbs from all of his fingers at the same time. I can’t quite figure out how the guitar sounds so good when his thumb and all 4 fingers seem to be flicking at the strings at the same time. But it works.
Piano and accordion duties were handled by Christine McVie. Her strength however is her vocal prowess. All I can say is that anyone that saw this band in the last 16 years prior to this tour should ask for their money back. She left the band during that time due to an intense fear of flying. What an absolute loss that was. She completes this band, the way Van Halen was completed when David Lee Roth came back. They were great without him, but awesome with him. Her voice is so crisp and it reminds me of the first robin you hear in the spring. You can’t help but smile. For a 71 year old lady, she still looks and sounds beautiful. Kind of like an older Judith Light. She must have been a real force to deal with in her heyday.
The final member is the resident scarf twirler, tambourine banging, top hat wearing lady named Stevie Nicks — probably the most famous member of the band. She is the only member to have a productive solo career. Unfortunately life, and possibly hard partying have caught up to Stevie. Her voice is down at least 1 octave, and she can’t hit the high notes anymore. She still has a great stage presence and she is possibly better at her age than some singers in their prime.
Now for the bad.
“Tusk”. The mere mention of this song turns me off. However, I did prefer the live version of this song to the original, but that is not saying much.
“Second Hand News” is my favourite song by this version of the band. This live rendition however was ruined by whatever annoying sound effect they had in place of the bass line that the original had. And the “bowm bowm bowm bowm bowm…” is a little off. It might be too fast paced for the elder statesmen.
Even though I commended Lindsey, he is not without fault. His voice progressively got worse as the night wore on. I was hoping they would actually mute his mike, and just let his guitar do the talking. When he did a vocal solo, his voice reminded me of a pre-pubescent mixed with The Hobbit. I was waiting for him to say “precious’. There were also times in the night that he yelled and screamed much louder than he needed to. And I won’t even mention the skinny jeans he borrowed from One Direction.
The song choices could have been better in my opinion. There were a few duds near the middle, and even one song from the Peter Green era would have been nice. Not many people realize the band did “Black Magic Woman” before Santana. Also, they could have done a cover of “Werewolves of London”. John and Mick were the rhythm section on the Warren Zevon song. These would have been good substitutions.
Stevie Nicks though a good stage presence, kind of reminds me of an old hippie cat lady from Woodstock, New York. She is about three puffs on a reefer away from being bat shit crazy. She was rambling a few times during the night. Something about Lindsey in high school and he knew her but she didn’t know him blah, blah. Next about the store that influenced the song “Gypsy”…zzzzzzzzzzzzzzzzzzzzzzzzzz. I told my wife to nudge when she stopped rambling.
I read in another interview how the giant screen behind the stage and the smaller screens near the front made the show so much better. Apparently this person was not sitting where I sat. The smaller screens blocked my view of members of the band. When Mick was doing a sweet solo, I wanted to watch his arms flailing. But instead I got to see a stupid screen in my way.
In conclusion, this was a concert worth seeing. I watched the Youtube clips of the show, and they don’t shed a good light on the band. The band does sound much better when you are seeing them in concert than what it looks and sounds like on a computer. Although I was much worse on them than any other reviewer I read, I still enjoyed the show. I can finally say I saw them, and I would recommend them to others.
I would rate them:
7.5/10
(3.75/5 stars on the LeBrain scale)
Thanks Boppin for the awesome review once again! — LeBrain
Here’s a blast from the past for your Throwback Thursday! Most readers will never have heard of Zero Option. Too bad! Zero Option blasted out Kitchener Ontario in the early 90’s with a fresh power metal sound. They released a debut album on indi label Fringe, a label best known for its punk rock roster including bands like Dayglo Abortions. Singer Phil Maddox was well known about town for his powerful pipes. Lead guitarist Rick VanDyk is probably best recognized for his later stint in another (more famous) Kitchener band — Helix. The Helix connection must go way back to this album, because Greg “Fritz” Hinz is thanked in the liner notes, as is legendary vocal coach Ed Johnston from Fergus Ontario, who also coached Brian Vollmer in the technique of Bel canto. (Johnston passed away in 2008.)
Zero Option sound nothing at all like Helix. They present their metal with a bass-heavy Megadeth groove. Maddox’s voice is nothing like Mustaine’s, but it too is a matter of taste. He has a smooth singing voice, and the ability to belt it out, but lacks the range to hit some of the notes he’s going for. Gates of Utopia is only a first album, and the guy probably would have grown as a singer had they made a second CD. He already had a pretty unique voice, as I struggle to compare him to someone else.
Opener “State of Panic” occupies that Mega-groove (think “Symphony of Destruction”) and boasts some pretty wailing solos and a decent chorus. “Face to Face” is a standout track, a thrash metal mash with a variety of cool elements: time changes, busy drums, guitar harmonies, and smoking riffage. In 1991, Zero Option were going for a sound that was based equally in classic metal and thrash, and they were considered to be on the cutting edge with Gates of Utopia. Listening back today I still get a feeling of “they were onto something cool”. You can understand why people were raving about the CD back then. The guitar work on “Face to Face” is top notch and the band were capable of tricky arrangements.
Other tracks good enough to put the CD on your want list include “Lords of the New Church”, which has a memorable chorus and tasty guitar harmonies. “Think Tank” thrashes pretty hard and has dualing guitar solos, a gimmick I always enjoy. “Right Off the Face” is one of the slow, grindy catchy ones. Gates of Utopia is less about the individual songs and more about the overall impact: there are lots of guitar and vocal hooks over the course of this solidly made album. It’s hard to judge it fairly by 2015 standards. In 1991, these guys were right on the cusp of something new. Something that bands such as Megadeth and Metallica would master and exploit to sell multi-platinum albums in just a short while: a cross pollination of thrash metal heaviness with more mainstream metal sounds. Gates of Utopia couldn’t have done what those mega-sellers did, but another record or two and who knows what Zero Option could have sounded like fully sharpened?
The serious weak link here is the lyrical department. For example, from “Rise and Fall”:
When the universe was created, Man was not around. Centuries later, Evidence was found.
Subject matter discussed on Gates of Utopia are standard fare: censorship, TV preachers, the dangers of drugs, insanity, pollution, and girls. They are adequate, but pretty highschool. Of course, these guys were barely out of highschool.
Rick VanDyk still plays music today, in a Metallica tribute act called Sandman with former Helix members Brent “Ned” Neimi and Paul Fonseca. So there ya go!
Nobody was shocked when Ozzy Osbourne, the man who said he hated live albums, put out his fourth (!) solo live release in 1990. (His other three live releases were the Mr. Crowley EP, Speak of the Devil, and Randy Rhoads Tribute. This does not include the Ultimate Live Ozzy EP which was…not live.) The liner note by Ozzy attempts to justify its release. “Firstly, ‘Shot in the Dark’,” begins Ozzy. “I am happier with this version than the original.” (Oooh, sick burn on Jake.) Ozzy continues, “Secondly, the Sabbath songs – To have recorded them one last time with Geezer Butler, Zakk and Randy says it all for me. It’s a chapter of my musical career I can now close.”
What the fuck did that mean?
Was Ozzy going to stop playing Sabbath songs? Did anyone actually believe that? The bitter liner notes accompany a front cover emblazoned with all four band members’ names, in the same sized font as Ozzy’s. And on the front cover is not Ozzy Osbourne, but guitarist Zakk Wylde! (Albeit from behind so you can’t see his face, and he’s just in one corner of the cover.) It all seems to deliver a message of “I am focused on the present, not my past.” This quartet was fully expected to record the next Ozzy studio album together, athough ultimately that did not happen. Geezer left in 1991 for a reunited Dio-era Black Sabbath. So much for not looking back!
Just Say Ozzy functioned as a stopgap. Ozzy would take his time with the next LP (which at that time was tentatively titled No Dogs Allowed, then Don’t Blame Me), but No Rest for the Wicked was already two years past. They had to release something, so here it is. One careful listen will reveal a lot of studio trickery was employed afterwards. Indeed, if one focuses on the crowd noise you can hear edits everywhere. Billboard magazine revealed that the music for this album was re-recorded in the studio with audience noise overdubbed.
Having said that, if this kind of trickery doesn’t bother you (and if you own Kiss Alive! or Frampton Comes Alive then it shouldn’t too much) then this is a great EP. Just Say Ozzy‘s meager six songs feature the only recordings of the brief Osbourne/Wylde/Butler/Castillo lineup. I was always a fan of those particular guys and there’s something to be said when you have two original Black Sabbath members in the band, while Black Sabbath only had one.
Since this EP was from the No Rest tour, three of its heaviest songs were showcased: the single “Miracle Man”, “Tattooed Dancer”, and “Bloodbath in Paradise”. No ballads. These three songs are nice to have, but are not even close to competing with the better known hits.
From The Ultimate Sin comes “Shot In The Dark”…yes, Ozzy’s so-called “preferred version”. And it is indeed very good. Zakk Wylde was a talented kid even then, and I love the youthful “go for it” attitude in his playing. “Shot in the Dark” features an extended solo that established Zakk’s place with his axe predecessors. Then, a deuce of Sabbath: a smokin’ “Sweet Leaf” and probably the best live version of “War Pigs” that I have ever heard.
Yeah, that’s what I said.
This Zakk-infused version of “War Pigs” is, in this humble writer’s opinion, the best live version ever released. Zakk’s guitar digs deep into the strings with those nice wide vibratos. It’s just monstrous, plus with Geez on bass, it has that slink it needs. Randy Castillo (RIP) was certainly no slouch, and his relentless fills here are solidly entertaining.
3/5 stars. Shame about that crappy cover art though.
RECORD STORE TALES MkII: Getting More Tale #362: Lávate las manos! (Wash your hands!)
What is the prime rule of retail? Some sources say it’s an employee’s presentation, from language to punctuality to appearance. A knowledgeable staff is absolutely important, and even trumps friendliness. Friendliness without knowledge in a retail environment doesn’t help the customer. Customer service is clearly important, as is leading by example, which I tried to do myself. Other sources say convenience is king. An online presence is a must, but in brick and mortar stores, what truly is the one prime, cardinal rule of retail?
I say it’s a simple one. Wash your hands!
Research suggests that in the United States, 22 million days of work are lost per year just by common illnesses spread in the conventional ways. When a sick employee does manage to make it into work, their productivity is reduced due to lack of energy and focus. They risk spreading the illness further, and also disgusting potential customers with their coughing and sneezing.
It’s easy enough to reduce the spread just by making sure your employees are washing their hands. According to the CDC, “Handwashing is like a ‘do-it-yourself’ vaccine—it involves five simple and effective steps (Wet, Lather, Scrub, Rinse, Dry) that you can take to reduce the spread of diarrheal and respiratory illness so you can stay healthy. Regular handwashing, particularly before and after certain activities, is one of the best ways to remove germs, avoid getting sick, and prevent the spread of germs to others.” By “certain activities”, I can tell you that buying used CDs off the public certainly qualified. At the Record Store, we had a bottle of hand sanitizer at the register, so I could quickly scrub up if there was no time to hit the washroom.
I have seen some gross, disgusting substances on CDs that I and my staff have handled. That doesn’t even include the invisible germs that were on a lot of them! Sticky CDs and CD cases were quite common. When I first started out, I caught hell from the boss because I didn’t want to buy a box of CDs from a guy who had very few discs without yucky, sticky CD cases! Most of the time, we couldn’t identify the goo, although we were fairly certain that some had been covered with semen before. (Needless to say, we passed on the semen CD, no complaints from bosses that time.)
The most disturbing health risk that I witnessed was covering the in-demand box set called Good Vibrations: Thirty Years of the Beach Boys. It was covered in blood – still wet, as the guy selling it to us was actually bleeding from his hands at that moment! The staff guy who was handling the set, Jason, quietly announced, “I have to go and wash my hands – they are covered with blood.” The customer then laughed and said, “Yah, that’s me. But don’t worry, I ain’t got AIDS or nothin’.”
With hindsight, I seemed to be sick all the time. Handling all that dirty money and those filthy CDs, it was almost impossible to keep my hands clean. All it takes is one itchy eye to rub without thinking, and BAM! You’ve got a virus! At the Record Store I suffered from all sorts of ailments, as did we all. I also felt a certain amount of pressure to show up for work even when I was under the weather, so I tended to work through it.
I would give the same advice to customers and staff alike: There is only one prime rule of retail. If you want to stop spreading all those filthy germs, lávate las fucking manos!
KISS – 40(2015 Universal Japan single CD Commemorative edition)
Wait a minute, I’m confused — did I just buy Kiss 40, again?
Wait a minute, it’s 2015 now — shouldn’t this be Kiss 41, or something??
Wait a minute, what the hell is “Kiss vs. Momoiro Clover Z”???
Eager to buy anything new from Gene and Co., I got this new single CD version of Kiss 40 without really knowing what it was about.
Now that the CD has arrived at the door, I discovered that Momoiro Clover Z is a Japanese all-girl pop group with similar intentions as Kiss themselves. They dreamed big dreams for themselves and aimed to entertain and bring a spectacle to the people. They have colour coordinated members and characters, so perhaps a Kiss collaboration seemed like the next step for them. I don’t know how the collaboration came to be, but the result was a brand new Kiss song written by Paul Stanley and producer Greg Collins.
This edition of Kiss 40 commences with a Kiss-heavy mix of the new collaboration, “Samurai Son”. There are other versions available on two singles and on iTunes, but reviews for those will wait until they arrive at LeBrain HQ. The good news is that the “U.S.” mix of “Samurai Son” has no problem hanging out on a Kiss greatest hits CD. Musically, it’s not too much of a departure of the direction from Kiss’ last album, Monster. It’s just more produced, polished and embellished. The girls from Momoiro Clover Z come in during the chorus, but it’s not the first time Kiss have had female backing vocals on their albums. It’s the first time since 1989, but remember old classic tunes like “Tomorrow and Tonight” from Love Gun, and “Sweet Pain” from Destroyer? Female backing vocals. The new twists this time are the lines in Japanese, and the very slight J-pop slant. It’s not too far of a departure.
Collector’s card included inside Kiss 40
It may not be to your taste, but I love “Samurai Son”. The lyrics address Kiss’ experience of hitting Japan for the first time back in 1976:
“I took a flight into Tokyo, Into the Land of the Rising Son, I heard my song on the radio, Blowin’ my mind like a shot from a gun.”
Paul then proceeds to tear it up all over town, “Livin’ life with no regrets.” The words suit one of those fast paced Kiss rockers that they’ve been doing of late — think “Hell or Hallelujah”. There are some cool Thayer licks and you can tell that Gene Simmons showed up for the sessions, because you can hear him singing on the choruses. The overall impression is that “Samurai Son” is one of those solid Kiss catalogue rockers. It’s like the new material on side four of Kiss Alive II: pretty good but living in the shadow of the Kiss greats.
From this point on, Kiss 40 (the 2015 abridged version) continues with the “best” hits from the full length 2 CD version…but not quite. There have been some major tweaks to the tracklist, perhaps to maximize the listening pleasure of consumers who just need one CD of Kiss in their lives. The classic live version of “Rock and Roll all Nite” has been replaced with the studio version from Dressed to Kill. Same for “Shout it Out Loud” and “Detroit Rock City”, here in their original full Destroyer guises instead of live. I like the way the car crash ending of “Detroit” merges into “Calling Dr. Love”. “Dr. Love” and “Love Gun” were thrown into the pile here, even though they weren’t on the original Kiss 40 in any form. A little further down, a different song was plucked from Kiss Killers: The superior “I’m a Legend Tonight” replaces “Down on Your Knees”.
Moving on from the makeup years to the non-makeup 1980’s, the original version of “Crazy Crazy Nights” replaces that unreleased live version from the double Kiss 40. That sums up the song substitutions; the album still continues chronologically to the current era. I’m pleased that even though early songs from the first two Kiss albums were axed, songs from the last two Kiss albums were not. I think Sonic Boom and Monster are Kiss albums the band should be proud of, so you get “Modern Day Delilah” and “Hell or Hallelujah”, as it should be. Other albums excluded from this compilation are The Elder, (surprisingly) Creatures of the Night, Hot in the Shade, the live records and the solo albums.
With all these tweaks and alterations, the overall listening experience is enhanced albeit at the cost of some deeper tracks. It’s a give and take, so the overall score for the new Kiss 40 remains:
RECORD STORE TALES MkII: Getting More Tale #361: LeBrain Goes to Toronto
Went to Toronto yesterday to visit Mrs. LeBrain at the hospital, and also visited Sonic Boom music at 215 Spadina while I was in town. I’m tired, so all I had the energy for was this quick & dirty 4 minute video. Hope you like it. You know I found music to buy…
Deep Purple opened their very first vinyl with an instrumental. “And the Address” is remarkably recognizable as Deep Purple, particularly because of Ian Paice and Jon Lord.
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