Part 303: Marking Your Discs

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RECORD STORE TALES Part 303:  Marking Your Discs

In the 1990’s, stealing CDs and selling them to a pawn shop or a used CD store was a fairly common way for thieves to make some money.  Today I doubt it happens at the levels I saw in the 1990’s.  You just can’t get as much for a CD today, not even close.

I had seen too many people lose valuable music to theft, and never get the discs back.  I received many visits and phone calls from upset customers, hoping that someone had sold their stolen discs to me.  But a lot of thieves were too smart to sell them in town.  They’d go somewhere else to sell them, assuming that they’d be harder to catch then.   When somebody lost dozens of CDs in a break-in, they would call all the used stores in town.  “If you see a guy bringing in a huge collection of Jazz box sets, including about a dozen Miles Davis remasters, call me.”

It was always best if you could somehow identify your collection.  Jazz box sets and Miles remasters (for example) would be easy to spot.  If somebody else called and said, “Somebody stole all my rock CDs…I had Stone Temple Pilots, Korn, Creed, Days of the New…” well, there wasn’t much hope.  These are titles that we often saw, probably every single day.  If you could somehow mark the discs as your property, however…

Different people used different methods.  In 1995, I got a call from a guy who worked at the downtown Dr. Disc.  His collection had been stolen.  He marked his discs in a unique way.  He placed a strip of tinfoil underneath the CD tray.  If somebody came in to sell a hundred CDs and they all had tinfoil under the tray, there’s your guilty party.

Most people, who didn’t care about the packaging or condition of their discs so much, would just write their name inside.  Either on the booklet, the inner tray, or the front cover.  I could never deface my music like that, and neither could T-Rev.  He came up with his own method.  Rather than mark the CD packaging itself, he wrote his initials on a tiny red sticker, and placed that somewhere unobtrusively on the CD.  If he ever wanted to remove it, he could do so without wrecking anything.

Tom didn’t share our “no permanent marks” philosophy. He embossed the front covers of his discs with a press that imprinted his initials on the front cover.  Tom gave me a couple CDs once – his initials always bothered me.  When I had the chance to swap covers with a copy that was in better condition, I did.  Tom tells me he doesn’t emboss his CDs anymore.  I’m glad he came to his senses.

T-Rev and I both have had CDs stolen, unfortunately.  Both of us had our vehicles broken into.  T-Rev never recovered the handful of discs that were in his Jeep. (I remember that one was the excellent Barstool Prophets albums Last of the Big Game Hunters.)  They never showed up, anywhere in town.  As for me, I only lost one disc – Fish’s 1998 compilation Kettle of Fish, which was inside my Discman (also stolen).  They didn’t take the CD case.  I imagine they probably threw out the CD; chances are these thieves would not enjoy the subtle sounds of Derek William Dick.  At that time, the album was not available in Canada, and I believe I had to order it directly from the official Fish site in the UK to replace it.  That cost me about $30, to replace a CD that I originally paid $7.99 for.  That was not a good day.

 

REVIEW: Alice Cooper – The Last Temptation (1994 CD, comic books)

Warning:  image heavy review!

LAST TEMPTATION_0001ALICE COOPER – The Last Temptation (1994)

When this album first came out, the local music geeks and I spent a lot of time discussing it. The foremost argument was, “What influence did grunge have on The Last Temptation?” While this is by no means a grunge album, I think there is a subtle grunge influence, and The Last Temptation is all the better for it.

The Last Temptation was heavier…more serious…more raw in production. These are all trends that grunge helped usher in. Alice had taken a bit of a slip, quality-wise, in the late 80’s and early 90’s. The Last Temptation was the album he needed to release in 1994.  While it was not a commercial success, it excited the long time fans.  It was the kind of thing we’d really missed from Alice, since the 1970’s.

The most obvious grunge influence is that Chris Cornell of Soundgarden wrote two songs and co-sings one. “Stolen Prayer”, the best song on the album, is Cornell’s, and his pipes have never sounded so good. Grunge forced a lot of hard rockers to drop the glossy production sheen of the 80’s, get serious a little bit on the lyrics, and write harder songs. This is evident in the world of Alice. This album spends a lot of time on the temptation of drugs, and while many rock fans might cringe at the idea of Alice delivering a “message” to us, this really is nothing new for our favourite masked rock star. He’s been serious before, on some of his finest moments in fact, but he always makes his messages fun to listen to and sing along with. West Side Story has always been a huge influence on Alice as fans know, and The Last Temptation is another album that shows this Broadway influence. “Bad Place Alone”, for example, has a chorus that sounds influenced by musicals.

LAST TEMPTATION_0007Alice is nothing if not ambitious. The Last Temptation was Alice’s first “true” concept album since DaDa in 1983. In fact there was a even three-part Neil Gaiman comic book available at the time to help flesh out the story. One edition of the CD came with issue #1.  Here you can find images from all three issues.

Marvel went all out on these comics.  The covers are hard stock, and the artwork inside by Michael Zulli is detailed and, at times, horrifying.  The colour palette evokes autumn (the story is set in October).  Even Alice himself appears as the Showman character, but the protagonist is (of course) Steven.  These comics were later reissued in a trade paperback, but all are affordable today, running at about $4 each.  The most desireable edition is probably the rare one that came backed with the CD:  issue #1, with a white border.

Musically, Alice is at the very top of his game here. Gone is the gloss. In fact, the opening track “Sideshow” sounds so much like the 70’s that you could swear it’s from the original Welcome To My Nightmare record. Awesome horn sections, great riff, killer lyrics; you’ll be singing this one for days after hearing it. “Nothing’s Free” rips off “Billion Dollar Babies” somewhat with the opening drum hook, but you won’t be complaining when you hear it. Most likely you’ll be pumping your fists to it. The first single “Lost In America” is a fast, tight rock song with insanely catchy lyrics, very different from a lot of stuff Alice had done in the 80’s.

The rest of the album is strong, with “It’s Me” being the sole ballad. “Stolen Prayer” is an absolute diamond.  Chris Cornell sings on the choruses with that classic, incredible 90’s Soundgarden voice.  Although the song is largely acoustic and mellow, the best word I can use for it is “epic”.  It’s a classic, and I believe that to be the reason that Alice used it to close his comprehensive box set, The Life and Crimes of Alice Cooper.  (Cornell also wrote the track “Unholy War”, solely — even the lyrics, which Alice used without modification.)

Overall the direction of the album is dark and catchy, with great playing from the entire cast and Alice spitting out the words as only he can. The fact that most of these songs were played live on tour is a testament to the strength of the material and Alice’s confidence that he had made yet another classic album.

The Last Temptation is a record that is sadly unknown to many casual rock fans. However, anybody who loved Welcome To My Nightmare would be well advised to pick this up. They might find that Alice has built a musical time machine, an album that sounds timeless despite its 1994 release date. It may not be a grunge album, but I think we owe a thanks to the grunge movement for helping Alice make the strongest record he’d done since 1975.

What happens to Steven? You’ll just have to listen and find out.

5/5 stars

 

REVIEW: Alice Cooper – Hey Stoopid (1991)

First of an Alice Cooper double shot!  Tomorrow, The Last Temptation!

ACHS_0002ALICE COOPER – Hey Stoopid (1991 Sony)

When Hey Stoopid first came out in ’91, fans were still reeling from the disappointment (but commercial success) that was the Trash CD. Fans wanted Alice to get heavier and drop the cheese, and Hey Stoopid was a step in the right direction, to be fully realized on his next album The Last Temptation.

It was the era of the virtuoso, and Cooper certainly knows a good musician when he hears one. To me it was a stroke of genius to have Steve Vai and Joe Satriani record a guitar solo together for the first time, and on a song called “Feed My Frankenstein” no less! Guest shots by Ozzy (barely audible, though), Nikki Sixx, Vinnie Moore, and Slash provided enough hype for the fans to salivate.

Songwriting-wise, Hey Stoopid was a step up from Trash. The title track with its lyrical warnings of drug abuse was a fun catchy rocker with a tasty Satriani solo. The solos on this album are all too brief. Still the players being as good as they are create solos that enhance each track. Other standouts include the mindblowing “Might As Well Be On Mars”, an epic Desmond Child song that just aches before it explodes on the choruses. “Die For You”, written by Alice with Motley Crue’s Sixx & Mars, as well as Jim Vallance, has a chorus that bores its way into your brain and stays there like a parasite.

There’s still a lot of filler, something that plagues almost Alice album from Goes To Hell through to Hey Stoopid. “Snakebite”, “Hurricane Years”, “Little By Little” and “Dirty Dreams” are all songs that Alice will never play live in concert, and for good reason.

Yet there are still lots of hidden gems on this CD, all the way through to the final track “Wind-Up Toy”. A song about insanity, as only Alice can do, it is something that really hearkens back to Welcome To My Nightmare. What’s this about “Steven”?

There are also a couple lesser known tracks that aren’t on the domestic CD that are worth tracking down: “It Rained All Night” is a slowy, groovy track that was a B-side but better than some of the ballads on the actual album. “Fire” was a Jimi Hendrix cover with some fiery (pun intended) guitar playing.

The most disappointing thing about Hey Stoopid is the production by the normally excellent Peter Collins. Yes, Trash was too glossy, and yes, Hey Stoopid toughens the sound with more guitars. However the background vocals in particular are so dense, so saccharine, that even Def Leppard would blush. They are credited to different groups of people, and clearly there are a lot of voices here creating this gigantic mush of sound. It’s too much. I much preferred when Alice stripped it down on Dirty Diamonds, an album that deserves much praise. In 1991, production values just seemed to go to this extreme — witness Europe’s Prisoners In Paradise CD for a similar sounding album.

Hey Stoopid was Alice attempting to find his footing again, and while it stumbled, it did pave the way for Last Temptation. If grunge didn’t wipe out hard rock later that year, maybe Hey Stoopid would be regarded more fondly.

3/5 stars. Not great, but certainly not a failure.

Promotional "Hey Stoopid" memo

Promotional “Hey Stoopid” memo

SAUSAGEFEST XIII prep: Found the Biowipes!

Sausagefest prep continues.  Today I scored a minor victory:  Mrs. LeBrain found Coleman Biowipes at the Cambridge Walmart!

As I continue to pack, I come down to the really hard decisions.  Such as, which T-shirts shall I bring?  Below are a small selection.  (Einstein glows in the dark!)

REVIEW: Twisted Sister – Club Daze, Volume I: The Studio Sessions (1999)

TSCD_0001 TWISTED SISTERClub Daze, Volume I: The Studio Sessions (1999)

Everybody knows that Twisted Sister has been around a long time; since 1973 in fact, just as long as Kiss. However not too many people have heard Twisted’s early material outside of their first single “I’ll Never Grow Up, Now!” which was on their “best of” CD. Club Daze, Volume I fills in the gaps.

This CD is for fans only. It will have absolutely no appeal at all to casual listeners who only want songs they recognize. In fact, some of these songs are painfully bad. “High Steppin'”, “Big Gun”, and “T.V. Wife” for example are all examples of some very poor early songwriting. These tunes are in a more traditional rock and roll vibe, and are lyrically quite awful. Take “T.V. Wife” for example, written and sung by JJ French, a song about a woman who sits around all day watching soaps. Really bad song.

On the flipside there are rough and ready versions of some really decent songs, such as “Come Back” which had Dee Snider writing in a heavy metal mode. “Rock ‘N’ Roll Saviours” is a personal favourite, a 1978 attack upon disco music. “We’re gonna fight until disco is dead!” sings Snider.  And they did!

To make collectors salivate just a little more, the best tracks on the CD are the three songs originally from the (then) impossible-to-find EP Ruff Cutts (now since made available on the Under the Blade reissue). This includes an early version of “Leader of the Pack” and more familiar songs: “Shoot ‘Em Down” and “Under The Blade”. It is only these last two songs that really show what Twisted Sister was capable of and where they would go in the future.

There’s one Ruff Cutt missing (“What You Don’t Know (Sure Can Hurt You)”), and a few other miscellaneous early tracks as well, but Club Daze is a compilation of these years.  Club Daze is also loaded with ample pictures and liner notes (from Jay Jay and Dee).

As an album purchase, this CD is not the greatest release. Twisted Sister were never virtuoso musicians, and it shows. Most of these songs don’t have Mark “The Animal” Mendoza on bass, who really helped make their songs heavier. Most tracks feature Kenny Neill on bass and Tony Petri on drums. This is for collectors only, and anybody who wants to know what this band sounded like in the 70’s before they did their first serious recordings, and found the sound that would make them famous.

3/5 stars

Part 302: Blackie Lawless

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RECORD STORE TALES Part 302:  Blackie Lawless

W.A.S.P. singer, founder and leader Blackie Lawless is known among fandom for his raging douchebaggery.  Witness a recent event in Russia, where Blackie ignored the one and only fan at the train station asking for his autograph.  Everybody should understand a human being’s need for privacy when they live in the limelight, but asking for an autograph at a train station is hardly imposing, especially when they’re the only fan in the place.

Blackie don’t sign nothin’!

Even back in the Record Store days, I was hearing stories about Blackie being an asshole to fans.  Witness the evidence below, an interaction I had with a customer in the late 1990’s:

Customer:  Hey, do you have any W.A.S.P. albums?

Me:  We might…are you looking for a specific one?

Customer:  No.  Just one that has a picture of the singer.  Blackie’s his name right?

Me:  Yup, Blackie Lawless.

Customer:  Here’s the thing.  I just want to see what he looks like.  I was in Toronto a couple months ago, and I swear I saw this guy.  I asked him, “Hey, are you in a rock band called W.A.S.P.?”  The guy said no, but I was sure it was him.  I said, “Come on, you’re him.  You look exactly like him.”  He had the long black hair, and he was really tall, man.

Me:  Well, Blackie’s definitely known for his hair and his height.  Sounds like him.  Hey, I have a CD called Headless Children here and there’s a picture inside.  Let’s take a look.

So we grabbed the W.A.S.P. CD and opened up the booklet.

Customer:  That’s him!  That’s the fucking guy!  I knew he was lying to me!  What an asshole.

Me: Yeah, he’s known for being one of those too!

SAUSAGEFEST XIII prep: Starting to pack

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Preparation is key!  I began picking up and packing supplies for this weekend:  SAUSAGEFEST XIII, and hopefully the best one yet.

There will be the annual Countdown.  There will be live bands.  There will be meat.  There will be Uncle Meat.

I was disappointed that nobody in town seems to carry Coleman Biowipes anymore.  I had to settle for generic.  Hopefully, they are up for the tasks at hand…

I got the hair cut, and I got a flash drive full of tunes.  Got my cooler, got some Pop Tarts, my camera and a tripod.  4 days to go….

 

REVIEW: Jesus Christ – Jesus Christ (1994)

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JESUS CHRIST – Jesus Christ (1994 Hypnotic)

Jesus Christ were formerly a glam band; a really decent glam band called Attitude. You may recall their video on Much for “Tear The Walls Down”. I still have their indi cassette, and some of the songs on it were pretty good. Grunge then came and went, and Attitude decided to toughen up, and go full-on metal. They changed their name to Jesus Christ for attention, which didn’t really work.

You can find this CD in just about every clearance bin in the province. I paid $24.99 at HMV in 1994 without hearing a note; a decade later I was clearing these out of my bargain bin for 99 cents.

Musically this is really heavy, poorly produced detuned sludge-thrash metal circa 1994 when you weren’t allowed to have catchy riffs or solos anymore. Lots of screaming vocals, not a lot of catchy parts or memorable songs. Downtuned guitars and pseudo-metal grooves are the norm here. It kind of reminds me of an early 90’s version of St. Anger. Headache inducing, harsh, not a lot of melody or songcraft.

Best tunes:

  • “Peace By Piece” (angry song…rahr!)
  • “I Hate” (another angry one, rahr rahr! but with some dynamics)
  • “Ace of Spades” (yes, a Motorhead cover)

And that’s pretty much it. The rest is one chugging detuned song into the other.

2/5 stars

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