Aaron at the KMA and I have coordinated posts today about cassette singles!  If you can’t get enough,click here for his! Geoff at the 1001 has also thrown his hat into the ring, and you cansee his cassettes here!
RECORD STORE TALES MkII: Getting More Tale #356: Cassingles
Cassingle (noun): “cassette single”, a musical single release, usually consisting of two songs, on the cassette format.
A couple years ago, my parents found in their basement something I had lost and presumed would never see again: an old shoebox full of my old cassette singles! Â This was especially valuable to me, because a couple of those cassettes have exclusive tracks on them that have never been released on any other format. Â Helix’s “Good to the Last Drop” is one such single. Â Van Halen’s “Right Now” is another.
The shoebox also contained my prized cassette copy of the Sonic Temple Collection by The Cult.  Buy cassette one (“Fire Woman”) and you can send away for the box.  Buy cassette two (“Edie”) and you get three Cult cards.  Buy cassette three (“Sweet Soul Sister”), and you can send away for a Sonic Temple pin.  (Which I still have, just not handy for a picture.)
There are some tapes that I know I’m missing.  They include three by Warrant:  “Cherry Pie”, “I Saw Red”, and the horrid “We Will Rock You”, which I probably sold at garage sales when I temporarily disowned Warrant in the 1990’s!  I could also swear that I owned Extreme’s “More Than Words”, but I don’t know what happened to that one.  I’m not worried about it since the B-side remix track is being reissued on the deluxe edition of the Pornograffitti album.  Maybe I gave it to Crazy Thunder Bay Girl!
Check out what remains of my cassingle collection below.
IZZY STRADLIN and the JU JU HOUNDS –Â Izzy Stradlin and the Ju Ju Hounds (1992 Geffen)
Izzy was quick out of the gates after leaving Guns N’ Roses at the height of their success.  Less than a year after his departure, a dreadlocked Izzy reappeared with his new band the Ju Ju Hounds, a Stones-y outfit also featuring Rick Richards from the Georgia Satellites.  Guns’ main songwriter and rhythm guitarist unleashed an album of songs that easily could have been released in the early 1970’s.
There’s very little resemblance to Guns, aside from a few tracks on Use Your Illusion. Â “Pressure Drop” (the reggae classic) is redone here as a classic rock/punk hybrid, and it’s probably the only tune that you would think, “Yeah, that sounds like Guns.” Â “Bucket O’ Trouble” also has a distinct punk rock vibe, but the Hammond organ keeps it from going all the way. Â The rest of the songs are a lot more open, and far less heavy than fans were used to. Â Fans who “got it” loved it, and those that didn’t probably never will.
There are no bad songs on Izzy Stradlin and the Ju Ju Hounds, but there is little question about who this album sounds like. Â Izzy approaches it like a Keith Richards album with songs suited to his raspy voice. Â Izzy’s singing voice is so Stones-y and raspy that you’ll have trouble telling him apart from guest Ronnie Wood, who sings with Izzy on his own song “Take a Look at the Guy” (originally from Wood’s 1974 solo record I’ve Got My Own Album to Do, his first). Â “Train Tracks” is a Stradlin original that sports some tasty slide guitar straight out Wood’s book.
The single was the still-great “Shuffle it All”, which was criticized by some for a superficial resemblance to Lou Reed’s “Walk on the Wild Side”. Â Only the bassline has any similarity; which is admittedly a pretty significant hook. Â I like “Shuffle it All” better (heresy!), which easily could have been on Beggars Banquet. Â Those “ooo, ooo, ooo” backing vocals seal the deal for me.
There were also a couple mellow tracks. Â “How Will it Go” and “Come on Now Inside” are both lovely ballads with piano and acoustic guitars. Â “Come on Now Inside” contains a hidden bonus track called “Morning Tea”, but this isn’t really a full-fledged song of its own. Â This is just a percussion instrumental outro.
The Japanese edition has a bonus track called “How Much” which was also on the single for “Shuffle It All”. Â I’ll review that single on its own at a later time. Â It’s an Izzy original but you’d be forgiven for thinking it’s an old Bob Marley cover. Â Great tune — I’m a sucker for reggae. Â The song is worth it if you want to track down the single or Japanese import.
This photo gallery (entirely music related I assure you) is by request of Jason, who is interested in getting these toys. Â Below you can see the the following pieces:
Hasbro Transformers Universe Hound and Ravage set.
Reprolabels sticker set.
Dr. Wu DW-P02 Duel add-on kit (silver gun and missles)
MGS-03 add-on kit (darker guns and missiles)
How are they music related? Â One of them transforms into a cassette, while the other one plays a wicked guitar solo on the electric axe, as you can see below! Â Also note Hound’s cool light-piped eyes. Â Nifty eh?
I used to get so excited back in the Record Store days, checking the purchase logs from the day before. Many times, people logged KIM MITCHELL – ST (self-titled) in the books, immediately catching my attention. The self titled Kim Mitchell EP, after all, was and remains a true rarity. CD copies go today for up to $120. Â When I would check the purchase logs against the physical CDs, I was always disappointed that the Kim Mitchell EP didn’t come in; rather his 1994 album Itch did. Â The graphics are laid out in such a way that a part-time employee who didn’t know better couldn’t see that the album was called Itch, within the name Kim Mitchell. Â Truth be told, I couldn’t figure out what it was called when I first started at the store in ’94 either! Â I was working the week it came out. Â “I didn’t know Kim Mitchell had a new album out!” Â Staring at the cover…”What’s it called?” Â I bought it on cassette initially.
The mid-90’s were a confusing time to be a Kim Mitchell fan. His 1992 record, Aural Fixations, was pretty straightforward and for the first time lacked lyrics written by Pye Dubois. When 1994 kicked off, the new Kim single “Acrimony” featured Kim rapping. Yes, rapping. Inappropriate comparisons to the Red Hot Chili Peppers were bandied about in the press.  I did not like “Acrimony”.  Some people do; in fact some people think Itch is Kim’s best CD.  I am not one of those people.
So how good is Itch? Well, it’s OK. It’s not great, not like Kim’s past work with the near-legendary Max Webster, though it does return Kim to some mild musical experimentations. There are standard Kim rockers like “Wonder Where & Why” and some great grooves like “Lick Yer Finger”. “Stand” is one of those classic Kim anthems that are perfect for the car in the summer time. Â There are also just just plain weird moments that just don’t work. “Acrimony” is one of them, and “Lemon Wedge” is another. “Lemon Wedge” is a cool funk tune with horns, but is ruined by some guy (possibly Peter Fredette?) screaming out the chorus in a weird falsetto. Strangely though, those two songs made onto Kim’s first solo Greatest Hits CD, so maybe I’m the one who’s just not getting it.
In general Itch is a more somber album from Kim than the good time rock he produced in the 80’s.  It was also bluesier (“U.S. of Ache” for example) and harder edged, but I don’t think it had the songs to back it up.  Kim’s playing is fantastic of course, but you can say that about any of his albums.  Kim can play circles around most rock and blues players in his sleep.  He also has a crack band, featuring Ken “Spider” Sinnaeve on bass who did time in a couple legendary Canadian bands such as Loverboy and Tom Cochrane & Red Rider. Notably, Pye Dubois returned to pen the lyrics, the last time he would do so.  I think the main problem with Itch comes down to the songs.
The best tune on this CD is the last one, “Cheer Us On”, a great campfire song that should have been a single. However, it wasn’t, so it’ll just have to remain one of those little-known album songs with a few diehard fans. Â I wouldn’t hesitate to put it on a greatest hits CD, even though it has never been used on a greatest hits CD.
As it stands, Itch was a commercial flop. Â It has its staunch defenders, and maybe you are one of them. Â Who’s right?
2.5/5 stars
Footnote: Eagle-eyed readers will recall seeing Itch in Record Store Tales Part 187; a video called “A Day in the Life at a Record Store”. Yes, a customer really did bring this album to the counter and inform me that someone had ruined the cover art with crayon. I had to tell them that it WAS the cover art!
Ah, Poison! Â The band everybody loved to hate! Â In spite of that, Poison made a couple pretty good albums. Â Flesh & Blood is the best of the original C.C. DeVille era, and probably their most successful. Â It spawned a huge headlining tour that also produced a double live album. Â Flesh & Blood was also their “get serious” album, although in that regard it was only a partial success. Â The idea was to write and record more mature music and lyrics, something that C.C. was opposed to. Â He saw nothing wrong with the glam-slam-king-of-noize direction that they started on, and maintained that Look What the Cat Dragged In was their high point. Â He saw the introduction of blues influences as diluting the Poison sound he liked.
That’s all bullshingles.  Flesh & Blood is the best thing C.C. has done, and is second only to Poison’s Native Tongue album with Richie Kotzen.  C.C. was still far from a great guitar player, but on most tracks it’s his most accessible and least annoying playing.  (On others…well, we’ll get there.)  Take the opening track “Valley of Lost Souls” for example (preceded by a jokey answering machine tape called “Strange Days of Uncle Jack”). “Valley” rocks heavy with integrity and an edge that Poison hadn’t displayed before, and C.C. throws in a lot of tasty, toffee-like strings.  His soloing will never be considered virtuoso, and his tone has always been thin and annoying, but never has C.C. generated such guitar thrills as he does on this album.  (Most of it.)
I’m sure that producer Bruce Fairbairn steered this ship with a firm hand.  His stamp is all over Flesh & Blood:  from weird segues to rich backing vocals, this is a Fairbairn production through and through.  Fairbairn was known to be a taskmaster, and I’m sure he worked C.C. (and the whole band) to the bone.  The title track, “(Flesh & Blood) Sacrifice” has his patented, perfectly arranged vocal stamp.  The vocals are layered and almost Leppard-lush.  When we’re talking about a singer like Bret Michaels, you know it’s not going to be Pavarotti.  The credits don’t list additional singers, but there are some names in the tail end of the thank-yous:  Paul Laine, for example.  Laine was a Vancouver local, where Poison recorded the album.  Why is he being thanked?  I think it’s safe to assume that Laine and others helped out in the backing vocals department.  Anyway, “Sacrifice” is the second excellent song in a row.  Say what you like about Poison as performers, they wrote some fucking good songs too.
“Swampjuice (Soul-O)” is some surprisingly good C.C. acoustic blues.  Actually not bad at all — but just instrumental filler.  As is the next song, a massive huge hit single: “Unskinny Bop”.  The song is awful, the lyrics worse, and C.C.’s solo is like razor blades.  I mean that in a bad way.  Total shit.  Garbage.  “Let It Play” verges on filler, but it’s good enough.  It’s simple but memorably melodic.  Better is the timeless sounding single “Life Goes On”.  I liked this bombastic electric ballad then, and I still do now.  Michaels is a limited singer, but this is a damn good ballad.  I give Fairbairn credit for the backing vocal hooks.  The first side of the album closes on the forgettable but adequate hard rocker “Come Hell or High Water”.
Kicking off side two with the single “Ride the Wind” is a no-brainer. Â This song sounds like its title. Â It sounds like a car song, a rock and roll ode to the thrills of the road. Â I’d rank this easily among Poison’s best hits — top five. Â “Don’t Give Up an Inch” is filler, but “Something to Believe In” was another huge single. Â Hearing it again today, I find it hard to dislike. Â I wanted to, but I can’t. Â I think Bret wrote some pretty good lyrics here. Â The part about his best friend who died “in some Palm Springs hotel room” is about his bodyguard, a guy he was really close to. Â It’s pretty heartfelt, and the piano ballad still stands up as well as any by Aerosmith from the same era.
Some boring C.C. pedal steel guitar leads into “Ball and Chain”. Â It’s a pretty good rock boogie, but the second-to-last song “Life Loves a Tragedy” is the best track on the album. Â Even better than “Ride the Wind” but similar in vibe, this song shoulda woulda coulda been a hit. Â The soft intro fools you into thinking it’s a ballad. Â It’s not. Â It’s a ballsy rocker with another Bret Michaels lyric that you’d call more mature. Â “My vices have turned to habits, and my habits have turned to stone,” sings Bret. Â “I gotta stop living at a pace that kills, ‘fore I wake up dead.” Â Not poetry really, but a hell of a lot better than “Unskinny bop bop, blow me away.” Â The chorus kills, as does the whole song. Â Another top five Poison track in my book.
The album ends on a pile of shit called “Poor Boy Blues”. Â This may well be the worst Poison song of all time. Â Of all time! Â C.C.’s playing is so pointless, so brutal, so annoying, that I don’t know why somebody didn’t pull the guitar out of his hands. Â Wah-wah alone does not a solo make! Â This song stinks so bad. Â Dammit, Poison, you’re not a blues band fer fuck’s sakes! Â This song should have been axed, there is no reason for it to still exist.
The 2006 remastered edition has two bonus tracks. Â The first is a disappointing acoustic version of “Something to Believe In” from the “Life Goes On” single B-side. Â It has new lyrics (erasing one of the things I liked about the song) and absolutely pointless guitar playing by C.C. Â His solos and melodies go nowhere. Â It’s just a guy playing all kinds of notes on an acoustic guitar that don’t have any direction: Â There’s no tension, no release, no hooks. Â This version sucks. Â Lastly there’s “God Save the Queen”, an instrumental demo version. Â This too sucks. Â More directionless soloing from C.C. over the Pistols riff. Â That’s all it is.
Interestingly the remastered edition has two changes that I’ve noticed. Â The cover is the “censored” version without the extra blood on the arm. Â This is a US import, and I think in Canada we had the other cover originally. Â Second, the reprise of “Strange Days of Uncle Jack” that closes the album is missing. Â Normally this would fade in from the end of “Poor Boy Blues”. Â Now, “Poor Boy Blues” ends with a few seconds of silence where that reprise used to be. Â I don’t know why they did that. Â I’m assuming somebody mistakenly used a version of the song from a compilation album.
I know I’ve been hard on Poison in this review, but this is actually a great album. Â Take away “Unskinny Bop” and “Poor Boy Blues” and I would call it pretty damn solid. Â As for the remaster? Â Disappointing.
RECORD STORE TALES MkII: Getting More Tale #355: “The man’s hot piss warmed my freezing cold hands”
Once upon a time, in a Record Store not far away, there was a manager named Joe. Some people call him “Big Nose”. Some people just call him Joe. Two things about Joe you must understand: 1) Joe doesn’t give a crap about what anybody thinks, and 2) Joe doesn’t really know boundaries. Joe is the one who told me he had a crush on my mom. Joe is the one who introduced me to the Open Door Piss. I like Joe, don’t get me wrong. Â He was pretty much the only one at the Record Store that I could confide in towards the end. Â He is trustworthy, 100%. Â A solid individual. Â He was the best support I could have had. Â But I’d be lying to you if I didn’t tell you that Joe is different from just about everybody you know.
The Tale goes like this:
Joe and Uncle Meat were driving from Waterloo to Windsor, to go and visit Tom who was attending teacher’s college there. Â It was December, and a cold one it was. Â By this time, Tom sold his own branch of the Record Store, so he could continue his education and become a teacher. Â Joe and Meat were travelling in Joe’s old beat up piece of shit. Â It was the quintessential “old man car”. Â It was huge, ancient, and nothing worked. Â I’m amazed it made to Windsor and back, honestly. Â One of the features that no longer functioned was the heat, which is a pretty darned important thing during a Canadian December.
Sometime during the three hour tour, Joe had to piss. Â Pulling off highway 401 to pee isn’t Joe’s style. Â Instead, he re-invented the piss jug, but with a large Tim Horton’s coffee cup. Â After relieving himself in said cup, he passed it to Meat!
Meat, all this time, was freezing his ass off in the passenger side.  His hands and fingers in particular were as frigid as icicles.  Although being passed a cup of piss in most situations isn’t a position you want to be in, this time it wasn’t so bad.  The cup “felt like a hot double double in my hands,” says Meat.  Still warm with Joe’s body heat, the piss-cup helped Meat regain some of the sensation in his digits.  “What’s the greatest gift you can give?  The warmth from inside of you.  The man’s hot piss warmed my freezing cold hands,” according to Uncle Meat.
After warming his fingers, Meat rolled down the window.  He carefully prepared the cup for ejection.  He managed to throw it while only getting a surprisingly “minimal amount of piss” on his arm.
Neither Uncle Meat nor I condone littering, but sometimes life hands you a warm cup of piss, and you have no choice in the matter!
With the exception of A Collection of Recycled Gifts, these Marillion CDs were a free gifts exclusively for members of the official Web UK club. Â I ceased subscribing and collecting a few years ago when they switched format to DVD releases. Â Video is way further down on my collecting priority list. Â In 2014, however, I learned they switched back to CD! Â A double CD in fact: a live concert recorded in Chile called (heh heh) Chile for the Time of Year!
I re-subscribed just in time to get it. Â And it has arrived, along with the 48 page glossy Web UK magazine. Â This is a heavy mag, printed on good quality paper. Â It’s nice that some bands’ fans still value such niceties. Â Â There are four issues per year.
Below are a selection of pics. Â For more on the Web UK, and a better way of life, visit marillion.com.
NOTE: This is basically a review of the Deluxe edition of Live Evil.  I own The Rules of Hell (2008) box set of Dio-era Sabbath, so I did not need to buy the later Deluxe of Live Evil.  The 2 CD edition inside The Rules of Hell is sonically the same.
BLACK SABBATH – Live Evil (1982 Warner, 2008 Rhino)
Live Evil: Not only a palindrome, but also the last gasp of the Dio/Appice/Iommi/Butler lineup of Black Sabbath.  Hard to believe that their first “official” live release was with Ronnie James Dio at the mic and not Ozzy Osbourne! This infamous live album was the last thing Sabbath did before Dio left (the first time) and it’s actually a lot better than people generally give it credit for.
Some folks may not enjoy that live, there’s only one guitar.  When Iommi takes a guitar solo, the gap is filled by bassist Geezer Butler and keyboardist Geoff Nicholls.  The audible keyboards in the middle of a heavy metal song like “Neon Nights” do take a little getting used to, admittedly.  In the end though, it’s part of the scenery.  Black Sabbath didn’t do much with live keyboards in the original Ozzy era, but they were a part of every Sabbath lineup since.  There was also apparently a lot of behind the scenes bitching about instrument levels and whatnot that supposedly lead to the disintegration of the band.  This remastered edition of the CD leaves me with few qualms about the sound.
Back in the 80’s and 90’s, you used to see a lot of fan rivalry. Â “Dio sucks!” or “Dio rules!” Â Today we all have the perspective to know that you can have both Ozzy and Dio, like having your cake and eating it too. Â Well, until Dio’s heartbreaking 2010 death, that is. Â It is true most singers that Sabbath have had couldn’t do the Ozzy material convincingly. Ozzy sounded genuinely disturbed and terrified on “Black Sabbath”. (“What is this that stands before me? Figure in black which points at me. Turn round quick and start to run. Find out I’m the chosen one…oh no, please God help me!”) Dio camps it up quite a bit, which is not my personal preference. The same goes for “War Pigs”. Â I also find that Vinny Appice just can’t cop the vibe that Bill Ward got on the drums. Ward played it very subtle, almost tribal, and Vinny plays it straight ahead. But I’ve yet to hear any lineup that can do that song as well as the original album version, including the reunited (1997-2012) Sabbath with Ozzy and Bill. Â (Appice also gets a drum solo on “War Pigs”; thunderous but not necessary.)
The set list for this album was pretty cool, including Mob Rules favourites “Voodoo” and an absolutely killer “Sign of the Southern Cross”. This version, melded with a long extended “Heaven and Hell”, is among the very best moments in Dio’s career. Basically, all the Dio-era material here is excellent, while the Ozzy-era stuff leaves you feeling just a little bit underwhelmed. Not to say they’re bad, they’re just…different. Â Two completely different singers with their own personalities. Â The fact is that Dio made it work live as best he could, and that’s commendable.
MVP: Â The super slinky Geezer Butler. Â The remastered edition allows us to hear with real clarity every massive note, and his bass is like a jolt of caffeine to the brain!
Since this is a 2CD set, all the between-song banter that was deleted on single disc versions has been restored. That’s important. Dio talks a lot between songs and that’s part of the album. Otherwise there is no bonus material. There are ample and interesting liner notes, and the front cover looks absolutely stunning. This is one of Sabbath’s all-time best covers (perhaps second only to their first album) and it definitely shines in this edition. (But don’t let that stop you from tracking down a vinyl copy so you can see it in its 12×12 glory!)
Shame that this was the last album of the original Dio era, but of course Dio and the band felt there needed to be additional chapters later on. And so there were. Live Evil remained a controversial album for a decade after its releasing, dividing fan and band opinions. Â I asked two of my esteemed Sausagefest rock scholar friends for their opinion on it, to make sure we’ve covered all the bases. This is why they had to add:
Uncle Meat: Â “As good as Dio was as a singer, I never really liked some of his takes on Ozzy Sabbath songs. He kinda over-sings them. It’s like he is bored with them and he appeases the singer in himself. Also the mix is pretty horrible as well. The truth is, the only great Sabbath live album isnt even a Sabbath album. Ozzy’s Speak of the Devil still sounds great today.”
Dr. Dave: Â “I don’t love or hate it. I like it. The most interesting thing for me, besides Dio, is the Vinny Appice take on the whole thing. More of a groove, less of a swing than Bill Ward. Not saying better, just neatly different.”
Final note: The liner notes correct Dio’s name to Ronnie James Dio. Â The original LP and CD had his name printed as simply “Ronnie Dio”, as a bit of a “fuck you” to the singer. Â They do not, however, reinstate Vinny Appice as an “official” member, having his name under “special thanks”!
3.5/5 stars. The most historic of the Sabbath live albums.
When Blackmore quit Purple for the second time, I had written the band off. I wasn’t too keen on the previous studio record The Battle Rages On, and what is Purple without the man in black? I didn’t want to hear a hack Deep Purple, struggling on to pay the bills with some sub-Blackmore player. Â The first time he left, it shattered the band and they were unable to continue past one record with Tommy Bolin. Then I started reading reviews of live shows with Steve Morse on guitar. Steve Morse? What the hell was that going to sound like? Morse and Ritchie Blackmore — it is hard to imagine two electric guitar players who sound less alike. (Joe Satriani was also briefly in the band to help them finish up touring commitments. Â Bootlegs of shows with Satriani are well worth checking out.)
When Purple finally released their new studio album Purpendicular, I had to buy it on import.  It didn’t even have a North American release.  When it was released officially in the US, an extra bonus track was added, so I tracked that down and bought it too. That is how much I really love this record. It had a huge impact on me musically in the mid to late 90’s, and when I saw Purple on this tour, they were smoking!
Kicking off with some of that patented Morse shredding, the oddly titled “Vavoom: Ted The Mechanic” kicks you in the teeth and won’t let go. This was, according to Gillan, done on purpose. Â It was a statement: “Here is our new guitar player, bitches.” Â Ian’s lyrics, ranging from bizarre to absurd and back again, are at their absolute peak on this album. (Check out “Somebody Stole My Guitar”.) Clearly, when the man had been freed of Blackmore’s shackles, he had been creatively revitalized. Â That probably followed in turn for each of the members.
The second track is the melancholy, bass-driven “Loosen My Strings”, a song which wouldn’t sound out of place on Slaves and Masters. From there, the album goes from strength to strength: The powerful progressive epic “Sometimes I Feel Like Screaming” (probably the best track on the album) to the bright and positive “A Touch Away”. Every song is backed by Morse’s unmistakable picking, miles away from Blackmore’s style of riffing, or medieval tendencies. That is not an attack against Blackmore, but sometimes a quality change can be refreshing. Morse utilizes pinch harmonics frequently on this album, which is a new sound for Deep Purple.  He also utilizes long sustained notes with wide vibrato, a classic Steve Morse sound.
There are very few weak songs on Purpendicular. Â The plodding “Soon Forgotten” can be skipped. Â Not all the songs are immediate. Â Some of them are complex arrangements designed to take a little effort to penetrate. This album must be played a couple times for it to sink in. But when it does, stand back and prepare to be blown away. Â I wouldn’t want to miss “The Aviator”, a rare acoustic Purple tune. Â Morse lends it a celtic feel. Â For folks who prefer the 70’s jamming Deep Purple, check into “Rosa’s Cantina” and give a shout-out to “Hey Cisco”. Â And if you like it a little more straightforward and rocking, you may prefer catchy rockers like “Somebody Stole My Guitar” and “I’m Not Your Lover Now”.
I mentioned that I re-bought this album for a US bonus track.  “Don’t Hold Your Breath” is a bright upbeat rock song, and worth tracking down.  It’s not necessarily an album highlight, but why do without?  Jon Lord’s organ sounds on this one are particularly enticing.
There was also one outtake from this album, a silly little jam/band intro called “Dick Pimple”. Â This was put out on a fanclub-only release, and later reissued on Ian Gillan & Tony Iommi’s compilation CD WhoCares. Â It’s a 10 minute track, giving the fans a rare chance to hear Purple with Morse jam just for shits & giggles. Â Because it’s Deep Purple, it is a quality jam, and completely unlike anything on Purpendicular.
Purpendicular was a vital record for Deep Purple. Â If they had blown it, that would have been it. Â They couldn’t have continued with any credibility if it didn’t kill. Â Fortunately it did. Â I am pleased to report that despite the tragic death of Jon Lord, Deep Purple has managed four more great records since, all with Steve Morse on guitar.
RECORD STORE TALES MkII: Getting More Tale #354: Packaging & Cellophane
As I sit here finally ripping the cellophane off some of the discs I received for Christmas, a pile of discarded shrink wrap sits before me.  I find the plastic waste problematic, but I also recognize that in today’s consumer market, you have to present your product as “brand new” or “untouched by human hands” in some way.  So they seal up every CD and DVD, ensuring that nobody got their sticky hands on the playing surface of your disc.  As an added bonus the shrink wrap protects the CD or DVD case, meaning you and only you can scuff it up yourself.
Part of me hates waste.  The other part (the OCD part) really enjoys ripping the shrink wrap off a brand new CD and knowing that its appearance is perfect inside.  Only I can mark it up, now.  Same goes with toys, appliances, tools…we all want everything to be brand-spanking-new when we open them, when possible.  We want to be the ones to rip the protective plastic film off that new TV.  We want to be the ones who carefully remove our new laptops from the layers of packaging protecting them.
This seems to be especially important when giving gifts.  When you’re giving something to a loved one, you want everything about it to be perfect as possible, from the box to the product, right?  In cases like this, we tend to look at the layers of wasteful packaging as a necessary evil.  You probably recycle and re-use as much as possible, but we all throw a whole lot of packaging straight into the garbage bin whenever we open something new.
I’ll give you an example from the Record Store days, just how some people value packaging over waste when gift giving. Â We used to offer a shrink wrap service. Â I don’t remember what we charged. Â If you wanted to buy a used CD and shrink wrap it in order to hide the fact that you were buying a used CD, we’d do it for 25 cents or 75 cents or something. Â It might shock you how many times I heard variations of the question, “This is a gift. Â Can you shrink wrap it for me?”
“Is there a way to put plastic on this so he doesn’t know it’s a used CD?”
“I don’t want her to know this is used. Â Do you have a shrink wrapping machine or something like that?”
And so on and so forth. Â There was a demand (clearly) so we offered it.
I found a better use for the shrink wrap machine.  When I happened upon a rare digipack version of a CD, or something with fragile packaging, I would reseal it, to protect it.  You’d be amazed how much you can wreck a CD case just from normal shelf wear.  If it’s something which has value in its packaging, then you want to prevent that.  I had (and later sold at a profit) a rare copy of The Black Crowes’ Amorica album.  This had the “x-rated” cover on a good condition digipack.  To prevent it from getting scuffed or damaged and losing value, I resealed it.  When I later got the Sho’ Nuff box set, I sold it for like $20.
You know those burgundy and yellow jewel cases that came with Kiss’ You Wanted the Best, You Got the Best CD? Â Another prime candidate for resealing (though you will still have to be careful you don’t crack the plastic)!
Some of my co-workers were known to reseal their hands. Â I do not know why. Â I did not partake in that ritual.
My quandary can be summed up as this:  I like packaging to a certain degree.  I hate the waste aspect of it, and the environmental impact.  In my own life I try to reduce waste as much as possible.  But I can’t get around my preference to tear open the shrink wrap on a brand new virgin CD and be the first to touch it with bare hands.
What is the compromise? Â I don’t know.
I don’t think there is a compromise. Â I don’t think wasteful packaging is a sustainable practice. Â I think, sooner or later, we all are going to have to get used to shedding layers of waste in our future.
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