Part 145: Cassettes Part I – T-Rev’s Tapes

RECORD STORE TALES Part 145:  Cassettes Part I – T-Rev’s Tapes

I’m sure this comes as no surprise, but back in the day, us Record Store Dudes were expert mix tape makers.  I’ve been making mix tapes since I got my first dual cassette deck, back in 1985.  It was a Sanyo.  Thanks mom & dad.

I made all sorts of mix tapes.  I made mixes of whatever tunes I was into at the time.  I made mix tapes for girls that I liked, sneaking in the odd commercial Judas Priest tune like “Parental Guidance” in order to sway them to the dark side.  I made greatest hits tapes.  I distinctly remember an Ace Frehley greatest hits tape I made, 90 minutes.  The first 5 songs were classic Kiss hits that he sang.  The next 5 were from his first solo album.  Then on side two, 5 songs from Frehley’s Comet and 5 from Second Sighting.   I also made a Kiss hits tape from the post-Double Platinum period, basically all the singles from Dynasty through to Asylum.

When I first met T-Rev almost a decade later (1994), I had met a kindred spirit.  He was doing the same thing!  He made hits mixes for Guns N’ Roses.  The Four Horsemen.  Van Halen.  And so on and so forth.  But in a lot of ways, he had taken it to the next level.

Trevor had an artistic ability above and beyond me, he was really really good at art.  That’s why we used to get him to make all our store signage.  So it probably should have been no surprise to me that he put equal effort into his cover art.  He did a beautiful job on the Guns and Van Halen mixes!

Somehow these ended up in my possession.  I don’t even remember how anymore, but here they are.  It looks to me like not only did T-Rev did awesome cover art, but he numbered all his mixes and must have had a numerical filing system.  The Guns mix appears to be a Part II, and is #34 in his  library.  Van Halen must have followed shortly behind at #38.  I also ended up with an early mix of his, number #14, called What De Hell!!

I’m really glad that I found these!  It brings back a lot of memories of the early days at the record store.  There was no such thing as blank CD’s yet, and even if there was, T-Rev didn’t have a computer to burn one on yet.  Tapes were our canvas, and they even had a longer running time than a CD.  90 minutes was our standard, but you could even go as high as 100 without losing too much sound quality.

Not that there was much sound quality!

Thanks for loaning these to me T-Rev!  If you still have something to play them on, I’ll send ’em back to ya if you want them!

REVIEW: Europe – Prisoners In Paradise (1991, 2001 reissue)

Published: December 3 2012

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EUROPE – Prisoners In Paradise (1991, 2001 reissue)

Ugh.

I know people who love this album, and admittedly it has a couple good songs on it. However, by this time Europe had lost their identity. They were now openly pursuing a commercial American sound, and it shows. The regality of old Europe was now only audible on a handful of tracks. On some, they were attempting to milk the ZZ Top cow. This is by their own admission. On other songs, you can mistake them for Roxette!

I had always loved Europe, and could not wait for the fifth album. Three years in the waiting, when Prisoners of Paradise finally dropped I snapped it up. Produced by Beau Hill (one of my least favourite metal producers of all time, ruining almost every band he touched, hello Twisted Sister!) and mixed in “Q Sound” (remember that?) I was immediately taken aback. Europe did promise a “heavier” album, and in a sense, this has more guitars. However, heavy is not the word I would have chosen. The album is overproduced, overpolished, and contrived. With a few notable exceptions, the riffs don’t stand out and the songs just drown in a morass of gang vocals courtesy of Hill’s horrendous production.

“All Or Nothing” (co-written by Mr. Big’s Eric Martin), the opening track, is a great example of this. Yeah, sure, it’s based on guitars rather than keys. However, this is a pop song!  Track two, “Halfway to Heaven”, co-written by Jim Vallance sounds exactly like Roxette. My Roxette-loving sister adored this song. “I’ll Cry For You” is a way, way, way overproduced ballad. No wonder the band preferred their later acoustic rendering of it. “Little Bit Of Loving” is just a bad song, too American sounding for this band, not worthy of the name Europe. “Talk To Me” isn’t bad, and “The Seventh Sign” is at least heavier, but not a particularly memorable song.

That ended side one of the original album. Side two began with the first really good song, “Prisoners in Paradise”. This ballad-like anthem is still overproduced, but it at least breathes and is irresistibly catchy. I just don’t get that dumb, spoken word opening. “Man, I just wanna be somebody!” Come on, guys. Let’s not write down to “the kids”. (Why did bands always refer to their fans as “the kids”?)

“Bad Blood” sucks. “Homeland” is not bad, and could have fit in on the previous album Out Of This World. It’s a decent song, and the lyrics at least sound heartfelt rather than contrived. This however is followed by the absolute worst song on an already dreadful album: The ZZ Top inspired “Got Your Mind In The Gutter”. The lyrics: dumb. The riff: stale. The chorus: awful. Terrible song. We’re almost near the end, and “Til My Heart Beats Down Your Door”, although a bit too soft, has a pulse.

Europe at least had the class to write one classic great song and end the album with it: “Girl From Lebanon”. It grooves, but not in a cheesy contrived way like the rest of the album. The chorus is irresistible  It’s a great song, and the only truly 100% great song on the album.  This one has the regal Europe sound that I missed. They still play it live.

Remastered versions of the album throw on two bonus tracks, both nondescript and not memorable: “Mr. Government Man” and “Long Time Comin'”. No matter how many times I’ve played the CD, these two songs refuse to stick to my brain.

Commercially, Europe’s fifth album was a complete dud, and sounded that much more stupid in the wake of its competition. Not that Europe could have foreseen this, but Nevermind, Ten, and Badmotorfinger drove this album into the dirt. Fans were eager to soak up something more heavy, heartfelt and real. While Europe’s goal here was to “heavy up” their sound (this is the direction that metal was going in previous months anyway) they were completely lapped by the new kids on the block. And then came a decade-long hiatus.

The good news is that Europe came back with original member John Norum on guitar for 2003’s excellent Start From The Dark, one of their best records.

2/5 stars


Lineup – Joey Tempest, vocals. Kee Marcello, guitars. Mic Michaeli, keys. Ian Haugland, drums. John Levén , bass.

REVIEW: Iron Maiden – Edward The Great (2002)

Part 31 of my series of Iron Maiden reviews!

IRON MAIDEN – Edward The Great (2002)

“If you have purchased this then you have no doubt heard of Iron Maiden at some point during the band’s career over the last two-and-a-half decades.” – from the liner notes by Steve Harris

Clearly this CD (released simultaneous with the Eddie’s Archive box set) was not designed for the existing Iron Maiden fans.  The die hards were not the intended target market, they got the box set to satisfy them.

In fact, Maiden wisely made the cover art (a ho-hum piece by someone named Tom Adams) available for free download.  They knew some fans would just want it, and didn’t to force them to shell out for an album full of songs they already had.  Again.

Yes, this was Maiden’s third compilation CD since 1996’s Best of the Beast.  To keep things interesting, at least they shook up the format a bit.  Unlike Beast, this is not a career spanning anthology.  Unlike Ed Hunter, the fans did not vote on the tracks.  Edward the Great was a simple chronological compilation of singles from 1982 to Brave To World.  It ends with a recent track, a live version of “Fear of the Dark” from 2001’s Rock In Rio disc.  I don’t understand the lack of Di’Anno tracks while still including two Bayley songs.

(NOTE:  Maiden have also re-released the disc with an updated tracklist.  I don’t have that, so I can’t really talk about it.    Except to say it still has Blaze stuff on it!)

There’s an attractive booklet but not enough pictures.  For a CD called Edward the Great, I think a few Eddies from the past would be in order.   Oh well.

With the exception of the Blaze material, which simply breaks up the flow of the disc, every song belongs here.  You could argue about exclusions, certainly.  Most conspicuous by its absence is “Aces High”.  You could also make a case for including the original studio version of “Fear of the Dark”.  Playing Devil’s advocate, perhaps Maiden included the live version to demonstrate the power of an Iron Maiden concert to the initiated.

Whatever the case may be, as a greatest hits set I find this one lacking a bit.  Considering the format, I would have chosen to call it the “Bruce years” and remove the Blaze tracks.  Then you’d have room for two more classic singles (perhaps “Aces High”, “Tailgunner”, or “Be Quick of Be Dead”.  As it stands I don’t understand excluding Di’Anno classics in favour of more recent Blaze material (two songs that they weren’t playing live anymore anyway).

1.5/5 stars.  Better compilations were to come.

REVIEW: Alice Cooper – Lace and Whiskey (1977)

Next in line of my reviews from Record Store Excursion 2012!  Check out the video below if you missed it.  This one bought at Sonic Boom Music for a measly $7.99!  Thanks, Sonic Boom!

MIKE AND AARON GO TO TORONTO

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ALICE COOPER – Lace and Whiskey (1977)

I’m a big fan of some of these “lost” Alice records, the ones that might not be considered the big hits, from his late 70’s alcoholidaze.  Alice Cooper Goes To Hell was a really cool record, one I like a lot despite its disco tendencies.  Lace and Whiskey followed it a year later.  This is actually Alice’s third solo record, post-Alice Cooper Band.  (I talked about the disintegration of that band in a previous Record Store Tale, see the video blog below!)

Alice tends to write his albums in terms of themes:  Alice in school, Alice having a nightmare, Alice horror.  This time, Alice takes the guise of a heavy drinking detective!

It’s another diverse platter, from honky-tonk (“Damned if You Do”) to more disco and flamboyant balladry that Alice had become known for.  I don’t find there to be a weak track on the whole album.  I’m not a huge fan of the ballad “You And Me”, as it’s hard to compete with a tune like “Only Women Bleed” or even “I Never Cry”.  But it was a hit for Alice, and it’s certainly not bad.   It even made the Muppet Show.  Who can forget Alice dueting with a peacock?  Or whatever that is.

The whole album drips of Ezrin-isms, you can hear his touch on every track.  From rich orchestras, horns, choirs, and the well-honed arrangements he was known for, this album could not have happened without Ezrin.  Indeed, he co-wrote all but two songs.

“King of the Silver Screen” is a great example of a Cooper/Ezrin/Dick Wagner composition.  It has that dramatic Ezrin touch, Alice’s Hollywood-homage lyrics, with a rock guitar riff that serves to anchor the whole thing.  And what’s with those little musical segues there?  I love when Ezrin does stuff like that!

I love “Ubangi Stomp” too.   It’s a 1950’s boogie with Alice doing his best Elvis.  Just great!  Plus who else could possibly utilize the word “Ubangi” in popular music?  Alice, that’s who.

Lace and Whiskey is surely one  of the most diverse Alice records, and that is one thing I love about Alice.  I even like the disco song.  Yes, I like the disco song!  No genre is sacred, nothing safe from his sabre.  But it’s all in good fun.  Nobody gets hurt.

Nobody but Alice, who checked into a mental institution shortly after this tour, to deal with his alcohol problems.  But that’s another story.

The tendency from many mainstream music critics is to rate these mid-period Alice albums poorly. But why?  The songs are good, they just don’t rock as hard.  Disco?  So what?  One of Kiss’ best albums was a disco album.

So a middle finger to the mainstream critics.  I like Lace and Whiskey and I’m glad I found it at a cheap price.  Thanks, Sonic Boom!

4/5 stars

VIDEO BLOG: Surprise Parcel From Aaron!

For the full story behind this, click here:

RECORD STORE TALES Part 135: Back In A Tracksuit

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Part 144: Mambo #5

RECORD STORE TALES Part 144:  Mambo #5

Ahh, December.  Christmas!  Traditionally, it’s a time when people used to come in, by the masses, looking for whatever that season’s one hit wonder was.  I was just thinking today about this goof that’s out right now, this Psy person.  I was thinking about how people are probably buying his song like there’s no tomorrow this season.  Then in the new year, when his 15 minutes are up, he’ll be in every bargain bin across the nation.

A similar thing happened in 1999.  You might remember a one hit flash in the pan called Lou Bega.  A little number called “Mambo #5”.

I had the unfortunate experience of having to hear his album over and over that season. Y’see, it’s not just the general public that was going for that one hit wonder crap, there were also a couple record store people too.  (For shame!)  I won’t say who subjected us to this album, numerous times, but she knows who she is.

It’s because of her that I know there’s also another song on Lou Bega’s album called “1+2=2”, which is basically the exact same song as “Mambo #5”, just with different words.

As is always the case, in the new year, we couldn’t give that sucker away.  As it sat collecting dust on our shelves, one of our customers put it succinctly:

“Lou Bega?  Huh huh huh…more like Lou Beggin’ for Change!”

Couldn’t have said it better myself.

Happy holidays!

Every Record Wins Blogging Award! — and so does LeBrain!

See:  Every Record Wins Blogging Award!

And thanks for the recognition!  That was really cool.  Keep reading, I’ve only scratched the tip of the iceberg that is my collection.

REVIEW: Iron Maiden – Eddie’s Archive (2002)

Part 30 of my series of Iron Maiden reviews!

IRON MAIDEN – Eddie’s Archive (2002, limited edition)

Eddie’s Archive was released simultaneously with another (!) greatest hits compilation called Edward The Great.  We’ll talk about that one next.  This is the real meat of it all!

This box set defines limited edition. I’m not sure how many copies were made, but the first printing with blue inlay was sold out nearly immediately. That’s the version I have. It was soon reissued with a red inlay to differentiate it, but even it is long out of print.

Inside you will find three individually packaged jewel cases, each containing 2 CDs for a total of 6 discs. These three “double albums” (for lack of a better term) are:

BBC Archives
Beast Over Hammersmith
Best of the B’Sides

The main reason to buy this set are the first two albums, BBC Archives and Beast Over Hammersmith.  To me, the Best of the B’Sides only scratches the surface of the treasures to be found on the numerous Iron Maiden singles and EP’s.  And as loyal LeBrain readers know, I’ve talked about ’em all.

BBC Archives contains numerous goodies. It starts off with a rare four song session by an ealy version of Maiden featuring Doug Sampson (drums) and Tony Parsons (guitar). Listening to “Sanctuary” as an example, you can tell it’s a guitar player you’re not familiar with. This is Parsons’ only recording with Maiden, but “Sanctuary” was previously released on the very rare NWOBHM compilation that Lars Ulrich put together.  I love the pure fire and raw youth of these early recordings.  “Transylvania” feels very different from its album incarnation.  You can tell it’s a different drummer.  And of course since it is the BBC, they are expertly recorded.

From there it’s a scorching ’82 set with Dickinson at Reading. Then back to 1980 for a Di’Anno Reading set, and finally to 1988 for a Seventh Tour of a Seventh Tour (Donington) recording. All of these are pure smoke and it’s great to hear Bruce in peak voice. Unfortunately, on this album alone, you will hear “Iron Maiden” four times!  It is what it is.  You wouldn’t want them to leave any tracks out, would you?

Next disc has the ’82 Hammersmith show. A couple tracks from these were issued as B-sides on the “Run To The Hills” single from Rock In Rio. Anyway, like the BBC discs, this is pure smoke. It is a pleasure to finally have a full concert with Clive Burr on drums and Bruce in top form. Of course you will hear “Iron Maiden” and numerous others again. With a box set of this nature it’s inevitable. If you’re a Maiden fan, you don’t care.  Do you?

Finally, the B’Sides.  Everything here has been made available before on singles.  There is nothing truly “unreleased” here as far as Maiden goes. There’s also nothing that is previously unreleased on CD unfortunately, like Maiden Japan or “I Live My Way” from the “Man On The Edge” 12″ single. For me, these discs are more just a “best of”. There are some cool tracks here such as the Montrose cover “I’ve Got The Fire”. (Maiden chose Dickinson’s version rather than Di’Anno’s, which is fine.) Other highlights include the pop metal goodness of “That Girl” and “Reach Out”, as well as originals such as “Burning Ambition” and “Invasion”. The covers that Maiden selects are mostly obscure enough (Nektar? Marshall Fury?) that they may as well be originals.

Then you get some of Maiden’s little-known jokey material: “Sheriff of Huddersfield” for example. I’m not sure how well it works as an overall listen. I prefer the singles in their original context, personally. As I mentioned, this is far from a complete set, and you can argue all you like for what you would have included. Certainly you can make solid arguments in favour of the Thin Lizzy cover “Massacre” or the rare “I Live My Way”.

Each CD jewel case features its own extensive booklet with photos, Derek Riggs cover art, and liner notes, with the exception of Beast Over Hammersmith. That one contains a booklet which is a reproduction of the original tour programme! Works for me! Otherwise, there is no book for the box set itself.

What you do get includes a neat scroll with the Iron Maiden family tree on it, wrapped inside a metal ring. (I’m sure this family tree is loaded with errors like the previous one included inside A Real Dead One, I’ve never bothered to check.) You also get this cool shot glass with Eddie’s face in the bottom. A cool treat. The box itself is a shiny tin masterpiece. It snaps shut securely and it is very detailed and cool looking.

What are you willing to pay for this set? That’s entirely up to you, but if you don’t have it, expect to pay through the teeth. Personally, to me it’s all about the music. Decide how much you’re willing to pay for approximately four discs of previously unreleased Maiden and purchase accordingly.

For me? 4/5 stars!

REVIEW: Neil Peart – “The Hockey Theme” (2010 single)

NEIL PEART – “The Hockey Theme” (2010 single, iTunes)

For my international friends and readers, you’re just going to have to take my word for it that this little tune is one of the most iconic pieces of music in our nation’s great history.  Mike Myers called it “Canada’s second anthem”.  If you’re home on a Saturday night, it’s a given that any true hoser is watching Hockey Night In Canada.  That theme song was the anthem that said, “Alright fans, go get your beer and your jerseys, the action starts now.”

I won’t get into the details of why this song isn’t the theme to Hockey Night In Canada anymore, but the song was picked up by another network, and it still kicks off hockey games every week — just not on Hockey Night in Canada.

In 2010, Neil Peart did a drum and horns version of the theme song, and put it up for sale on iTunes.  People bitched that they had to pay $1.29 for a song that was barely over a minute long.  All I can say to those people is, don’t buy it.  It you’re really huffing and puffing about paying $1.29 for a simply incredible piece of music by the world’s greatest drummer, then it is possible that you may in fact have no soul.

If you’re familiar with Neil’s work on the Burning For Buddy albums, then you already know that he tends to really kick traditional arrangements in the nuts.  And that’s what he does here.  He turns “The Hockey Theme” into a stomping, fill-laden anthem that is perfect for kicking off just about any mix CD that you have in mind.

Now, if we could only get an actual hockey season happening this year, we’d be talkin’!

5/5 stars