Blu-ray REVIEW: Trailer Park Boys – Don’t Legalize It (2014)

NEW RELEASE

Thanks to Chris Thuss for loaning this disc to me.

TRAILER PARK BOYS – Don’t Legalize It (2014 Entertainment One)

Directed by Mike Clattenburg

Two years prior to the start of the new Trailer Park Boys opus, Ricky and Julian were released from jail for the 17th time. Jim Lahey has suffered from a Ricky-induced stroke. He now limps with a cane, hooked on coke (“white liquor”), still beside an increasingly disgusted Randy. Lucy is living with mall cop George Green (aka “Fucky McFucksnapper”). Ricky and Julian have ceased working with each other. Ricky’s growing dope on an unprecedented scale, in a house in the subdivisions, but the Shitmobile only drives in reverse. Bubbles is delivering chicken and beer on bicycle, living under J-Roc’s front step. Terry & Dennis (the Flappy Bird Brothers) and Sam Losco are working for Cyrus. And Lahey’s buying coke from Sam. It’s a viscous circle. Julian was bouncing at a local club, but now has taken a step up (?) in the world by selling piss.

Let me repeat that: Julian is selling piss.

Clean piss, stolen from the military, at $60 a vial. Paying $60 to pass a drug test and keep your job is apparently worth it in Julian’s world. “Liquid gold,” he calls it. The quality and freshness of the piss is important to his customers. Ricky’s business of choice, however, is about to be shut down. Canada is legalizing marijuana, turning Ricky from king of the hill to unemployed overnight…unless he can stop legalization.

Allow me to repeat that too: Ricky needs to stop the legalization of marijuana.

Bubbles then receives a mysterious letter from a lawyer: his long-lost parents have passed away, but have left Bubbles a piece of land in Kingston, Ontario. All he has to do is claim it. Since Ricky needs to get to Ottawa to stop legalization, and Julian needs to get to Montreal to sell his stolen piss, it only makes sense to combine road trips. Or a “working vacation,” says Julian. He’s turned the Dirty Burger into a “Piss Wagon” to transport the liquid gold. And Lahey’s following them.

Will things go off the rails when Randy dumps all Lahey’s “white liquor” out of the window of their station wagon? Can Julian trust Cyrus? Will Bubbles stay in Kingston? And can Ricky stop his precious illegal crop from being legalized and taxed by government dicks? All will be decided by the time they get to Ottawa…

Trailer Park Boys shows are known for the mangled English known as Rickysisms. Some of my favourite lines and Rickyisms in this installment included:

“Instant carla, fucky!” – Ricky.

“Just shutty that fucky! What’s with your hair man, you think you’re a fucking Beavil or something?” – to Randy regarding his “Beatles ‘do”.

(Laughs) “Meth!? He’s selling piss, you fucking dum-dum.” – Ricky to Lahey, who thought the test tubes and hazmat gear meant Julian was cooking crystal meth.

“Cocksuckers chicken-jacked me!” – Bubbles after being mugged for chicken.

“Julian, can you stop handling the weiners for a second?” – Bubbles

The movie is dedicated to Richard Collins, aka Philadelphia Collins, who passed during the filming of the movie. Phil Collins has some excellent scenes in this installment despite being confined to a wheelchair. It is also dedicated to Brian Huggins (Shitty Bill) and Rita MacNeil.

Special features: a 1976 vintage VW camper is discussed in the “Cars Of” feature. Apparently that camper was a bitch! The Laheymobile is an ’89 Crown Victoria station wagon that Randy is not allowed to fart in. Ricky’s Shitmobile is a ’75 Chrysler New Yorker, which had to be drastically revamped structurally just to make it safe to film with. Then there’s the Dirty Burger, which is actually an old camper that Robb Wells and John Paul Trembley bought years ago. “Dogs, Busses & Barf Tubes” reveals the origins of Bubbles’ bus. My favourite featurette is “The Cock Bomb Problem”. What’s the “Cock Bomb” you ask? The crew and cast ceaselessly pranked each other by drawing cocks on all of their stuff.

I felt that Trailer Park Boys went a little too dark on the last couple outings. The final TV episode before the recent revamp of the show was the dour “Say Goodnight to the Bay Guys”, which was followed by the similar downer movie Countdown to Liquor Day. Don’t Legalize It has its own moments of sadness and quite a few tears, but measured against its predecessor, it’s a much funnier and re-watchable film. I think this captures the heart of the series better than the last film, even though many characters are absent or have smaller roles. The core is the triumvirate of Ricky, Julian and Bubbles, along with the evil duo of Randy and Lahey. As long as you have those ingredients, you have potential for a lot of fuckery. Don’t Legalize It delivers.

4/5 stars

Part 312.5: Coming to a Close – Poll Results

RECORD STORE TALES Part 312.5: Coming to a Close – Poll Results

A few days ago I made the announcement that I will be drawing the Record Store Tales to a close soon. It was inevitable that eventually I’d run out of good stories to tell. However I like to write so much more than just album reviews. When the Record Store Tales are concluded with the proper ending, I want to continue the storytelling. Music and retail will remain the main focus, it’ll just be from the other side of the counter.

I asked you for your suggestions for a new title for these “Post-Record Store Tales” (for which I have already been coming up with cool shit). And boy, did you deliver! Inundated with great suggestions, the problem became choosing just one.

So, I chose more than one.

Yes, a name has been selected for the “Post-Record Store Tales”, and it is an amalgam of multiple submissions. I hope you like it. I’ll reveal it when the new saga of stories begins. Until then, hang on tight. I’m currently finishing up the last few Record Store Tales, before the epic ending which will be a multi-part series. Wanna know how it all ends? Check back soon.

Cheers,
LeBrain

REVIEW: DC Drive – DC Drive (1992)

DC Drive – DC Drive (1992 EMI of Canada)

I saw DC Drive (from Detroit, get it?) open for Harem Scarem back in spring 1992. They were good live: the first single “You Need Love” rocked well enough, and lead singer Joey Bowen did “the worm” across the stage. He was a good frontman for a band like this. Their gimmick was that they mixed “rock and soul” and had a full time sax player. However, there is nothing overly special here, nothing that Little Caesar didn’t do, and perhaps better. I recall in a M.E.A.T Magazine interview that DC Drive boasted that they had more genuine soul than The Black Crowes; I would take issue with that.

Notably, DC Drive was produced by Vini Poncia, probably best known to rock fans as producer of the Kiss disco-era albums*. Poncia has several co-writing credits here as well. It’s a pleasant CD, fairly keyboard-heavy, with a couple good songs, but quite a bit of filler. It’s funky, but in that radio-friendly way that you remember from a couple decades ago.

The lead single “You Need Love” was good; “Streetgirl Named Desire” likewise. I also enjoyed the ballad “Fool In Love” sung by bassist Doug Kahan. I like the shameless pop of “All I Want”. If Bryan Adams recorded it, it would have been a hit. But the biggest problem with this album is how dated it sounds. A “rock and soul” band shouldn’t sound pigeonholed to eras past like this. It sounds like backing music to a 1991 buddy cop comedy. Joey Bowen has the goods when it comes to putting feeling into his singing, and guitarist Michael Romeo has a sweet tone. Unfortunately what the album really lacks is memorable songs.

DC Drive came out of the ashes of a previous Detroit band, Adrenalin. One odd thing about DC Drive: Even though they were from Michigan and were signed to a big label (Capitol), they were only signed to a Canadian record deal. The album wasn’t released in the US for another year, with a different track order, and minus one song (“Get Up and Dance”). The Canadian release enabled the band to at least get a footing in right next door to home, but it wouldn’t help in the long run.

Basically, the only reason I own this CD is because I saw the band live and it’s sort of a souvenir. Plus I found it for under 2 bucks. Otherwise this is pretty limp and bland, despite the sax (which isn’t always audible) and soulful Detroit roots.

For 90’s hard rock completists or anybody who remembers the song “You Need Love”. Otherwise don’t bother.

2/5 stars

* Poncia was brought into the Kiss family by drummer Peter Criss. Peter was probably inspired to work with Poncia due to his prior resume with Ringo Starr.

Editorial: Gene Simmons of KISS makes some incredibly stupid comments

Today on 107.5 Dave FM, near the start of the Craig Fee Show, I heard those opening chords to “Detroit Rock City”. Then, I heard Craig say, “No, no, no. I will not play this band today.” He then cut directly into “A Lil’ Ain’t Enough” by David Lee Roth.

There are Kiss boycotts happening right now on radio stations all over the world.

Gene Simmons is not a stupid man. Nor, do I believe, is he a bad man. The work he has done for veterans and other causes has been admirable. He’s also known for opening his big yap and spouting his personal politics to anyone who will listen. When Gene said this, I simply could not believe it:

“Drug addicts and alcoholics are always, ‘The world is a harsh place.’ My mother was in a concentration camp in Nazi Germany. I don’t want to hear f**k all about ‘the world as a harsh place.’ She gets up every day, smells the roses and loves life. And for a putz, 20-year-old kid to say, ‘I’m depressed, I live in Seattle.’ F**k you, then kill yourself.

“I never understand, because I always call them on their bluff. I’m the guy who says ‘Jump!’ when there’s a guy on top of a building who says, ‘That’s it, I can’t take it anymore, I’m going to jump.’ Are you kidding? Why are you announcing it? Shut the f**k up, have some dignity and jump! You’ve got the crowd.”

Hot on the heels of the suicide of the much-beloved Robin Williams, Simmons’ carelessness was shocking to me. Nikki Sixx called him out on it, and said, “What if somebody heard those words and did kill themselves, Gene?”

Today Gene offered up an apology of sorts.

“To the extent my comments reported by the media speak of depression, I was wrong and in the spur of the moment made remarks that in hindsight were made without regard for those who truly suffer the struggles of depression…I sincerely apologize to those who were offended by my comments. I recognize that depression is very serious and very sad when it happens to anyone, especially loved ones. I deeply support and am empathetic to anyone suffering from any disease, especially depression.”

I have been a member of the Kiss Army since 1985. I have always loved their music, and always will. I realized a long time ago, probably since the mid-90’s, that Gene Simmons is an asshole. He even named his solo album Asshole. We all know that Gene spouts crap about anything and everything, as is his right. Just like it’s my right to call him out on it.

Gene, to this day depression comes with a huge stigma. Some don’t recognize it as an illness. Some think “just cheer up,” is the solution. Sadly, some in the medical field don’t even understand depression, the pain it can cause (both emotional and physical) and how it can devastate a life. I hope that you learned a valuable lesson from this Gene. I hope you choose to learn more about depression and mental illness. After all, next it could be your son Nick, or your daughter Sophie, who fall ill with an awful mental illness that people don’t fully understand. It can happen to anyone regardless of who they are, or how hard they work, or how much success they have. I hope, Gene, that you will treat everyone who suffers from these terrible illnesses with the same compassion that I expect you would treat Nick and Sophie with.

I still love Kiss. But Gene, you named that solo album correctly, because you’ve acted like a total asshole.

REVIEW: Helix – half-ALIVE (1998)

“Ain’t no rest for the Helix band!” – Brian Vollmer

HELIX – half-ALIVE (1998 DeRock)

The 90’s weren’t a kind decade to Helix. Longtime guitarist Paul Hackman was killed in a 1992 auto accident. Without any Helix tracks written for a new album, Brian Vollmer chose to reconceive his in-the-works solo album as a Helix one, It’s a Business Doing Pleasure. The largely acoustic leanings of that (excellent) album didn’t fit with the overall Helix sound, and the album was tragically ignored. It would be five years before half-ALIVE finally followed it.

With their original heavy rock sound intact, Helix came roaring back with this mostly live, partly studio recording. With some live gigs recorded, as well as a handful of unreleased and unfinished new songs, half-ALIVE maybe should have been called one-third-ALIVE. Either way, it rocks. If you’ve seen this band live, then you know how much they kick it on stage.

After the death of Paul Hackman, it seemed like Helix became more a “project” than a band, with rotating members around the nucleus of Brian Vollmer (vocals) and Daryl Gray (bass). On half-ALIVE, you will hear appearances from members such as Greg “Fritz” Hinz (drums), Paul Hackman and Dr. Doerner (guitars), and even a song written by Mike Uzelac, their bass player when they signed to Capitol Records (who was actually a missing person for a long time). In addition, newer members like drummer Glen “Archie” Gamble and guitarists Denny Balicki, Gary Borden, Rick Mead and Mark Chichkan all contribute. These guys helped keep Helix going as a touring entity in the 90’s. Gamble in particular, since he was in the band for almost a whole decade.

Could the Helix of the 90’s cut it as much as the classic 80’s band? The five studio tracks roar “yes”! A far cry from the acoustic rock of It’s a Business Doing Pleasure, this is a return to the hard rock/metal sounds of Walkin’ the Razor’s Edge. Best tracks among the studio crop are “Wrecking Ball”, Steppenwolf’s “The Pusher” and a ballad called “The Same Room” (the single). “Big Bang Boom” is the only one I do not care for. The rest are decent songs, not necessarily career highlights, but solid. Of course, Vollmer’s voice is in fine form. It always is. No matter what Helix do on an album, you can count on Brian’s vocals sounding as they always has. That’s his Bel Canto training.

Video shoot for the unreleased “The Same Room” clip

From there we go to the live material. Virtually all the hits are present (“Rock You”, “Running Wild In The 21st Century”, “Good To The Last Drop”, “Heavy Metal Love”, “Wild In The Streets”, etc.) There’s also a new acoustic composition called “Smile”, written and performed by Gary Borden. What really sets this live stuff apart from their studio albums is Vollmer’s friendly on-stage banter. As he relates a tale of staying in a hotel in Seaforth Ontario (population at the time: less than 2000), you’ll laugh along, especially if you’ve been there! Equally good is Brian’s mid-song speech in “No Rest for the Wicked”. (Hits that are missing include “The Kids are all Shakin'”.)

The live songs were taken from various tours, 1992-1997, so there are a variety of material and band members (as noted above). Yet there’s a cohesiveness that similar live albums lack. The songs are mixed together and flow seamlessly, and you really can’t hear the five years passing. The sound is hard, clear, and rocking, and begs the question: “What took them five years to release this stuff?” I guess it was circumstance. It had nothing to do with quality, that’s for sure. The performances are raw though, and it doesn’t sound like much in terms of overdubs was done to the recordings.

My only real complaint about this otherwise competent live album is the cheesy cover art. Up close, it kind of looks cheap and crappy. And Brian’s haircut…I’m sorry man! I’ve met Brian and he was so cool and kind, so I hate to say bad things, but yeah…I’m glad you grew your hair back man!

4/5 stars

Below: Promo CD single for “The Same Room”.

Part 312: Reader Poll – Coming to a Close

RECORD STORE TALES Part 312: Reader Poll – Coming to a Close

Folks,

Sharing my Record Store Tales with you these past two years has been something I’ve wanted to do for a long time. It took me years to finally start publishing them, but all good things must come to an end. The seemingly bottomless well of Record Store Tales is now almost dry. I’ve plundered papers, hard drives, journals, photos and memories, but it was inevitable that eventually I’d run out of good stories to tell.

Sure, there will always be an occasion when I say, “That reminds me of a Record Store Tale!” and I’m inspired to write some new content based on those memories. When that happens, I’ll post it. However, I do feel the need to wind down the Record Store Tales and get on with the ending, which was already written a long time ago. I like to write so much more than just album reviews. When the Record Store Tales are concluded with the proper ending, I want to continue the storytelling. Music and retail will remain the main focus, it’ll just be from the other side of the counter.

The problem is…I don’t have a title.

“Record Store Tales” and…what? “Post-Record Store Tales”? “Record Store Tales: The Next Generation”? “Record Store Tales: The Other Side of the Counter”?

I invite you to come up with better titles than these. Submit ideas in comments below. There are no guarantees I’ll use your suggestion, but if I like it, you can be the person who names the next chapter of my story.

You in? Post your best ideas!

New book: Martin Popoff – Live Magnetic Air: The Unlikely Saga of the Superlative Max Webster

You know this is gonna be good. Popoff writing the definitive book on his fave band of all time? I’m in. I ordered this with his Scorpions bio.

Dirty details:

260 pages, 100,000 words. Pics: live, studio, records, etc.

The sound, as per Popoff: 92% Blue Oyster Cult crossed with Cheap Trick, topped by 4% Kansas and 4% Zappa.

I’ve made no secret of my love for this band, and Martin’s books. Now he’s finally shedding light on a band about whom info is usually scarce. It’s a must for me, and all fans of Canadian rock.

Contact Martin, and his site for lots of books and ordering info. Martinpopoff.com.

REVIEW: The Traveling Wilburys Collection (Bonus 12″ and DVD)

This series is dedicated to my mom! Not only did she a) buy me this box set, but b) introduced me to the artists in the first place. My mom’s favourite Beatle was George. She saw Roy Orbison live, at the old Glenbriar Curling Club on Weber St. in Waterloo. Later, she had these Traveling Wilburys albums on cassette.

Today is the final installment: the DVD and bonus 12″ EP.

For Vol. 1, click here.
For Vol. 3, click here!

THE TRAVELING WILBURYS – Bonus 12″, DVD (The Traveling Wilburys Collection 2007 Rhino)

As mentioned in the last two reviews, The Traveling Wilburys Collection came stuffed with bonus tracks — and more if you bought vinyl. Unfortunately, these bonus tracks (seven total) do not encompass all of the Traveling Wilburys rare tracks and B-sides. The missing tracks include:

“New Blue Moon” (instrumental version), from the “She’s My Baby” and “Wilbury Twist” singles.
The original mix of “Runaway” from the “She’s My Baby” single.

The tracks included feature a few B-sides and unreleased songs. I seem to recall in the 1980’s that extended mixes were very popular. The Wilburys released two as B-sides: “Handle With Care” and “End of the Line”. Both tracks are included with the vinyl version of the Collection. Basically, this involves adding instrumental sections throughout the song. Throw on some extra echo here and there. Each song is extended by about 2 minutes. With a vocal-heavy band like the Traveling Wilburys, this is actually quite a treat. It’s a chance to hear some of the bare acoustic instrumental tracks that are overshadowed by harmony vocals.

Exclusive to the vinyl version of the Collection, and previously unreleased, is the remix to “Not Alone Any More”. I have made no secret of my love for this song. This version emphasizes the lead vocal of Roy Orbison front and center. Also unreleased, but included on the CD version, are “Maxine” and “Like a Ship”. Both tracks were old recordings, finished in 2007 for this release. Dhani Harrison and Jeff Lynne sang additional backing vocals, which is more than appropriate. You can tell both are from demo sources, by hints such as George’s “Alright, that’s it,” at the end of “Maxine”. “Maxine” is the better of the two songs; “Like a Ship” is a slow Bob Dylan trawl that gets decidedly Beatles-y by the end. Dhani Harrison plays the guitar solo, which is a standout.

Then there is “Nobody’s Child”, originally from the Nobody’s Child: Romanian Angel Appeal CD. I’ll admit I’ve never been fond of this sad song. This was the Wilburys first recording after the passing of Roy Orbison, and I’m glad to finally have it, but it’s not a favourite. Incidentally, George covered this song way back when he was in the Beatles, too.

Del Shannon’s “Runaway” is a favourite of mine. I love that “I wah wah wah wah wonder” chorus. I dug when Queen + Paul Rodgers covered it, but I doubtless first heard this in the movie American Graffiti. It is said that when Roy Orbison died, Del Shannon was considered as a replacement. Unfortunately Shannon himself would soon be gone too; he never lived long enough to see the release of the Wilburys’ cover of “Runaway” in 1990. (He did however live long enough to hear Tom Petty mention the song in his 1989 hit “Running Down a Dream”.) Jeff Lynne sings lead on the Wilburys version, and he does a bang-up job. I like this version so much that I’m going to track down the “She’s My Baby” CD single so I can get the original mix too.

Included with the CD version of this set (but not the vinyl) is a DVD with a 24 minute documentary called “The True History of the Traveling Wilburys”. This fascinating inside look at the first album is well worth having. How often do you get to be a fly on a wall during a jam session like this? Never. It’s also very cool to see all five Wilburys recording vocals together in one room. Also included on the DVD are all of the Wilburys music videos, including “Inside Out” which I had never seen before.

The vinyl box not only has extra music, but also a poster and six postcards. Just paper, I know. The vinyl itself are presented on 180 gram records, which are always delightful to listen to. Take my word for it when I say that all three records sound amazing on my system.

The Wilburys never went on to record together again after Vol. 3, but a lot of fans consider Tom Petty’s Full Moon Fever to be something of an unofficial Wilburys album. Jeff Lynne’s first solo album Armchair Theater also has some Wilbury connections, and some of that jangly sound. All the Wilburys with the exception of Bob Dylan appeared on Roy Orbison’s last album, Mystery Girl.

As for The Traveling Wilburys Collection as a whole?

5/5 stars

REVIEW: The Traveling Wilburys Collection (Vol. 3)

In today’s installment, the second album, which of course is titled Volume 3!

For Vol. 1, click here.

THE TRAVELING WILBURYS – Volume 3 (1990, part of the Traveling Wilburys Collection 2007 Rhino)

When I heard the first Wilburys single from Vol. 3, “She’s My Baby”, I was surprised how heavy it was. Jeff Lynne sings this grungy rocker, with Tom Petty and Bob Dylan. The dirty pick slides and guitar licks resembled heavy metal more than the Wilburys’ first album. And no wonder — it’s Gary Moore (“Ken Wilbury”) on lead guitar! “She’s My Baby” is a great rock song, but there’s no doubt that it alienated some fans as first single.

More in tune with the Wilburys vibe is Dylan’s “Inside Out”. This track boasts a strong Beatles-y chorus, but fairly dull verses. “If You Belonged to Me” is better, a bit more upbeat, but melodically poor. It’s also the second Dylan lead vocal in a row, but it does boast one of his trademark harmonica breaks.

“The Devil’s Been Busy” features lead vocals from everybody, and plenty of George Harrison’s sitar. It’s an interesting mix, but not a standout song. The sitar is the highlight; I always enjoy hearing it in a pop rock context. From “The Devil’s Been Busy” to “7 Deadly Sins”, this song sound likes like a ballad straight out of 1952. But it’s yet another Bob Dylan lead vocal. Five songs in, and it is readily apparent that Vol. 3 lacks the vocal variety of Vol. 1, and that is one of its weaknesses. Dylan is who he is, and a Dylan song isn’t usually as melodic as a George Harrison song.

Tom Petty redeems the album with “Poor House”, a down-home country boogie. Throw in some of George’s delicious guitars and you’ve got a song you can’t ignore. It’s this kind of diversity that a Wilburys record needs. This is the first bonafide classic on Vol. 3, the previous songs short of the mark.

Bob’s back on “Where Were You Last Night?” This one has more presence from the other Wilburys and it’s stronger for it. It’s a tale about a girl who’s been “messing around”. “Where were you last year? You sure as hell weren’t here.” Tom Petty returns for lead vocals on “Cool Dry Place” another enjoyable song, but not terribly memorable. It’s enjoyable hearing Tom listing all the instruments he has stored in his cool dry place, and kind of hilarious hearing him singing about mold and mildew! A pleasure to listen to, but not a classic.

“New Blue Moon” sounds a lot more like the first album. George and Jeff sound great singing together. All the guys contribute to a song that has a timeless sound. The ballad “You Took My Breath Away” is helmed by Tom Petty, but equally important are those classic Harrison chords. It’s not a standout song regardless, unfortunately. Vol. 3 is plagued by songs that are not as memorable as the first go-round, and that is still apparent listening to them back-to-back today.

Finally there’s “Wilbury Twist”. This single featured a music video starring John Candy. I’m not sure how that came to be, but to me that’s the most memorable thing about it. That and the silly lyrics about the dance, the Wilbury Twist:

Lift your other foot up (other foot up)
Fall on your ass (fall on your ass)
Get back up (get back up)
Put your teeth in a glass (teeth in a glass)
Ain’t ever been nothin’ quite like this
It’s a magical thing called the Wilbury Twist

Needless to say, we did not ever attempt to dance the full Wilbury Twist. We never made it past the first couple lines!

That’s it for Vol. 3, a Traveling Wilburys album that has always, and will always, lie the shadow of its superior predecessor. But that’s not it for this series. When The Traveling Wilburys Collection was finally reissued in 2007, it included several bonus tracks. The 2 CD/1 DVD version had four, but the 3 LP box set had seven. We’ll look at them all tomorrow.

As for Vol. 3?

3/5 stars

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Record Store Tales, Grab A Stack of Rock & Music Reviews

Blu-ray REVIEW: Trailer Park Boys – Don’t Legalize It (2014)

NEW RELEASE

Part 312.5: Coming to a Close – Poll Results

REVIEW: DC Drive – DC Drive (1992)

Editorial: Gene Simmons of KISS makes some incredibly stupid comments

REVIEW: Helix – half-ALIVE (1998)

Part 312: Reader Poll – Coming to a Close

New book: Martin Popoff – Live Magnetic Air: The Unlikely Saga of the Superlative Max Webster

REVIEW: The Traveling Wilburys Collection (Bonus 12″ and DVD)

REVIEW: The Traveling Wilburys Collection (Vol. 3)

R.I.P. the Fisher King

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