It has come, and it has gone. It was epic. I will post more details later. For now, enjoy the gallery.
For the record, the #1 song this year was “Gardenia” by Kyuss, and the mix tape features guest appearances from Jeff Woods, Craig Fee, and Stephen Hawking (although I’m pretty sure that last one was fake).
My good buddy pen-named: Statham, who I met through the record store, has kept in touch via email over the years. We share many common interests, one of which is collecting music. We’ve helped each other find many treasures over the last 15 years.
I thought it might be a fun change of pace (instead of listening to me all the time) to get his perspective on the record store days!
For a view from the other side of the counter, here’s Statham!
RECORD STORE TALES Part 73: Crank It Up! by Statham
Mike asked me to write up something about any memories I have of the old days, back in the record store where he worked. I’ll give it a go.
I do not recall my first-ever visit to Mike’s store. My first memory of that particular company is of taking a shoebox full of old CDs I never played to their other location. But when I moved across town, Mike’s store was my mainstay. I was in there all the time.
You should know, I live in record stores. Always have, since I was old enough to buy my own music. I love the thrill of the hunt, the rare find, the new-to-me disc that branches my brain out into whole new fields of things previously unknown to me. Everywhere I’ve lived, I’ve haunted the record shops. And mostly the used-CD places… the new-CD corporate shops were good for new releases, not usually much else.
You should also know that I make it an unofficial habit to befriend at least one person in the shops that I like. Not in a needy way, not in a go-for-drinks sort of way, and definitely not in a creepy stalker way. Just a friendly thing, get to know them, and over time they learn my tastes too. It’s amazing how often they’d set aside stuff they thought I’d like (which I’d usually buy). And I’ve learned a ton from them, too. I’ve lived lots of places so far in my life, and have maintained this practice. Record store guys can be cool. Like Mike. Always super-helpful, to a fault sometimes. VERY knowledgeable. And his enthusiasm was absolutely infectious. Also, Mike’s a Sloan fan. And in my experience, this is generally the mark of a bright, caring and solid person. Hooray for Sloan!
Specific memories of the shop? Man, that was 16 years ago. But let’s see if I can cough up a few dusty recollections…
– Mike sold me my first Jon Spencer Blues Explosion CD (Now I Got Worry). He wasn’t convinced I’d like it, but he let me play it on the headphones, and I took it home. I am a lifelong fan of those guys now. If I don’t have everything they did, I have most of it. And it’s all awesome.
– I sold off all my Zeppelin albums one time. I just never played them, was probably listening to punk at the time and found them bloated, and I also probably needed the money. Mike was incredulous, tried quite hard to dissuade me. He eventually took them but still told me I was nuts. I probably was.
– One I definitely regret: I sold my Gits albums to Mike. I was in a different phase (probably jazz), and figured they were easy to replace. Ha! Have you any idea how many years I looked before getting most of those back again, when I realized my blunder? Remember, the internets were not then what they are now. And hey, I still need an old original CD copy of Frenching The Bully, too, so if anyone reading this has a good source, please leave a comment, thanks!
Statham selling his stuff
– I bought the Jewel record (the one with Hands on it) off Mike one time, when it was a new release. I think I just had that song in my head. Mike was sure I’d lost my mind. He told me he wouldn’t take it back in trade from me until at least one week had passed. Trust me, one week and one day, I took it back. He was right.
– I remember picking up the Black Crowes Sho’ Nuff box set for Mike, as I was going to Toronto anyway (and getting one for myself). No worries there, mate.
– I even applied to work at Mike’s store one time, too. They had this test you had to do, to try to see how much you knew about music. I guess they were weeding out the wannabes. Hell, I listen to music and pay attention to it constantly, and half of the stuff they had on there, I had no idea. So I got playful. I developed a “File Under” system. Like, Carole King was File Under: Stuff Your Mom Likes. And for ones I didn’t know, I made something up based on the band name or album title. I really was just taking the piss. Apparently, the manager wanted to interview me based on my results, but I’d just gotten another job anyway. To this day, I wonder how my life would have been different if I’d gotten that job.
I’m sure there are other memories that will come to me, now that I’m thinking about it. Maybe enough for a second instalment, if Mike would have me back as a guest. You know, to this day I still own many of the CDs I bought off Mike. I’ve lugged these things halfway across the country and back. It’s a sign of respect, man. Hold on to the good ones – both the albums and the good guys that sold ’em to you. I always do.
Part 6 of my series of Kiss reviews, leading up to the release of Monster! See the end for a bit of a preview of the forthcoming Destroyer: Resurrected too.
KISS – Destroyer (1976)
DISCLAIMER: I’m not the biggest fan of Destroyer. I loved the cover as a kid, and that cover led me to expect the album to be heavier. Also worth noting: I got mono real bad around the time that I got this album, so upon initially hearing it, I was constantly sick.
I strongly like four of the tracks today, which unfortunately have become overplayed:
And let’s face it, Kiss fans can take or leave “Beth”. Unfortunately for Peter Criss it was the only hit that he had a hand in writing, and during the reunion got way overplayed. It was nice hearing it again at first, since it had been dropped from the set for about 17 years. I’m sick of it now. We’re all sick of it. Kiss felt the song was a throwaway, and it kind of is. A novelty.
Other tunes:
Ezrin’s production is probably too sweet for my tastes. On the Alice Cooper stuff he was a little bit more rock, a little bit more raw. As I said, “Flaming Youth” is drenched in production. Calliope? Why? I don’t know.
Having said that, Ezrin pulled a few tricks out of the bag on this album that are really cool:
1. Grand piano subtley doubles the guitar riffs on most songs. It is audible on “Shout It Out Loud”, but you can hear it if you really listen on the other tracks. It gives the riffs a little extra BOOM!
2. The sound effect intro to “Detroit”, and the walkie-talkies on “God Of Thunder”. Genius atmospheres. No wonder this guy would later produce Pink Floyd!
3. Songwriting. Ezrin really helped Kiss learn about songwriting craft, and Kiss would never be the same.
So there you go. It is undeniably a classic, but it does not represent what Kiss really sound like. Maybe if Kiss had continued down this road immediately and tried some production stuff on their own, without Ezrin, they would be a different band today? But they didn’t, and Kiss returned to rock and roll on the next album, which I like better.
3/5 stars
AND NOW!
Destroyer: Resurrected (35th Anniversary Edition)
This baby is coming in August. A full-on Bob Ezrin remix of Destroyer, plus unheard demos. Now I know a lot of you don’t particularly care for remixes, but if Ezrin is helming it, I believe there will be a point to it. Ezrin is a producer of integrity and I don’t believe he would waste our dollars or time if this remix wasn’t somehow going to be worth it. I don’t know if the original mix will be included. But who cares? Everybody owns that and it’s not being deleted.
Ezrin pulled the tapes from the vaults and painstakingly remixed the entire album, enhancing the sound and bringing out its rich texture and vibrancy, while keeping the integrity of the original recording intact. Destroyer: Resurrected will also include rare and unreleased recordings rediscovered during the remixing process, plus the originally intended cover artwork.
I’m now hearing it’s only going to be 1 disc, but with the original Ken Kelly cover art (Alive! costumes), read more here!
One thing I hate: Drama queens. Especially now that I am older. Now that I am older I have zero time for drama queens. People who bring drama with them just need to stay away.
Unfortunately in my experience, there’s always a drama queen or two at a record store. Even worse when they’re in a position of power. Such was my experience in seeing one of my favourite Canadian bands: Sloan.
It was February 2000, and Sloan were touring behind their latest release, the underrated Between The Bridges album. I bought it twice, I liked it so much: On September 12, 1999, I received my pre-order from HMV, which contained two exclusive trading cards (still sealed today). Then in October, while seeing Phantom of the Opera in Toronto (Paul Stanley, woo!) I picked up the Japanese import which had two bonus cuts: “Summer’s My Season”, and “At the Edge of the Scene”.
I loved “Summer’s My Season”. Besides being a great Chris song, it contains my favourite Sloan lyric of all time:
You must remember this
Kiss is still just Kiss
Their style is denial
I’ll meet you when we’re older
Consider it a race
But who would be the one to paint their face?
Ace!
When Sloan hit Lulu’s Roadhouse in February we all bought tickets. We grabbed a table on the left side of the massive bar (world’s longest when it was open, actually) and enjoyed an opening set by The Flashing Lights.
Myself and Trev and a couple others sat on the stage side of the table, facing the stage (somewhat obviously). Some of the girls sat on the opposite side of the table, also facing the stage. Now, logically, this means we were not facing each other. Normally when you go to a concert you want to look at the stage.
Sloan came on, and played all of Between the Bridges. They played a lot of Navy Blues and One Chord, too. They were friggin’ amazing. Weirdly, they played absolutely nothing from the EP, nor Smeared, nor Twice Removed. Not even “Underwhelmed”. While this surprised me, I was hardly disappointed, especially when Chris came out and played “Summer’s My Season”. I sang (shouted) along to every friggin’ word even though nobody else in the hall seemed to know the song. I didn’t care. It’s a fucking concert! It’s like Dee Snider says…are you worried about somebody laughing at you at a fucking concert?
Besides, how likely are we ever to be treated to all of Between the Bridges again? Probably not too likely, especially with “Summer’s My Season” intact. Not an experience to be taken for granted.
Anyway, I rocked out, hard, played air guitar, air drums, sang, shouted, had an awesome time. The girls, apparently, did not.
The following Monday at work, one of them spilled the beans. “Sloan sucked. That was one of the worst concerts I’ve ever seen.”
OK, whatever, that’s a matter of opinion I guess. Sloan had just released the double live 4 Nights at the Palais Royale less than a year earlier so I was fully saturated with live versions of the old songs. I wanted new songs and I got them.
But this was more than a matter of favourite albums. Apparently, I was told, “You guys were being total snobs, too.”
“What? Snobs? What you are talking about?”
“Well, you guys ignored us all night. You didn’t even talk to us.”
Oh. My. God. It was a fucking concert, not a visit to the fucking mall! It was 115 dB that night! Are you fucking kidding me? And don’t you remember me talking to you afterwards about what a great time I had? I vehemently denied all accusations but it was absolutely no use.
This led to a week of cold shoulders, snitty comments, and silent treatments. Always a good time, particularly when it involves people with more seniority than you, too! Drama. Never was a big fan of it. But even though this behaviour soured the whole experiece for me (believe me, even when stuff smoothed out, the concert was never brought up again), I still love that era of Sloan, that album, and all the songs they played that night. Just that I never even entertained the idea of going to see a concert with that group of people again!
Part 3 of my series of Kiss reviews, leading up to the release of Monster!
KISS – Dressed To Kill (1975)
Dressed To Kill is an interesting album. While it contains the best known Kiss song (“Rock N’ Roll All Nite”) it also contains quite a few album classics that a lot of people don’t know (“Getaway”, “Anything For My Baby”, and “Two Timer” being good examples). This is one I play frequently. I never tired of it. It just has “vibe”. Listen to “Two Timer” for example. Kiss were obvious more than the sum of their parts, and this album was pretty heavy for 1975.
“Room Service” is an upbeat Paul opener, and I think we all know what kind of service Paul was getting. “C’Mon and Love Me” has a killer riff, one of the best Paul’s ever written. “She”, of course, goes back to the Wicked Lester days. It’s one of Gene’s sludgier moments. Even standard album tracks like “Love Her All I Can” and “Anything For My Baby” are entertaining enough. They might not be classics, nor complex, but they sure get the foot tapping.
The first and only album produced by the Casablaca label president Neil Bogart, Dressed To Kill retreats from the weak but more metallic sound of Hotter Than Hell, and goes back to the more rocky feel of their debut. The songs are every bit as good. I particularly like “Two Timer”, “C’Mon and Love Me”, and “Rock Bottom”. “Rock Bottom” features a beautiful acoustic intro by Ace Frehley.
The album cover is also classic — a shot of the band wearing ill-fitting suits, given to them by manager Bill Aucoin. It’s perfect.
5/5 stars
Stepping out of continuity: Part 5 of my series of Kiss reviews, this time on the BRAND NEW SINGLE, leading up to the release of Monster!
Yes, I know I forgot part 3. It’s coming. I just forgot to publish Dressed To Kill!
KISS – “Hell or Hallelujah” single (download only, 2012)
If you’re still hung up on Ace and Peter not being in the band anymore, just go away. Get over it. This sounds like Kiss. Pure and simple Kiss. Like the 70’s crossed with the speed of the 80’s. Picture a song like “Take Me” with the velocity of “Under The Gun”.
Sticking to the seldom-broken formula of having a Paul song be the first single, “Hell or Hallelujah” kicks ass from start to finish. I can’t say I prefer it to the first single from the previous album, “Modern Day Delilah”, but it’s certainly heavier. I love the sound of Gene and Paul singing together. The riff is retro-Kiss, and Paul is singing great.
Tommy Thayer shines, with a guitar solo that is less Ace and more Tommy. Rather than rip off a bunch of Ace licks like he did last time, this solo reminds me more of something like Bob Kulick would have done back in the day. Still Ace-like enough in general sound, but with much more dexterity. Having said that I don’t think it strays too far from the classic Kiss sound, and it’s about time Tommy got to really show off his chops.
Clocking in at 4:06, and selling for $1.29 on iTunes, I can’t wait for a better sounding format. The CD has to sound better than this!
4/5 stars
Part 4 of my series of Kiss reviews, leading up to the release of Monster!
KISS – Alive! (1975)
For the record I would recommend the Alive Box over this, simply because you get the first 3 Alives in one set with extra material. Buut we’ll get there evenually.
Kiss Alive!…what can you say? Greatest live album of all time? Not really live? Who cares! It sounds amazing and 35 years later people are still buying it. The same cannot be said of many live albums from the era. Live At Last by Black Sabbath was recorded around this time, nobody buys that record now. It’s one of a handful of classics. Frampton Comes Alive, and Live & Dangerous (Thin Lizzy) are up there with it.
Is it live? Sort of. Paul’s guitar playing and singing was not up to snuff for the live album that producer Eddie Kramer wanted to make (too much jumping around) so a lot of it was done in the studio. Can you tell? Absolutely not. You can’t tell at all.
The sound: Epic, loud, superior in every way to the studio albums. The songs: Played faster, more intense, solos are crazier and longer. Paul’s stage raps became popular because of Kiss Alive! Now everybody knows the rap about “a taste of alcohol” (“Cold Gin”), and the big middle section to “100,000 Years”.
You can’t fault one single song inclusion on Kiss Alive!, and indeed this version of “Rock And Roll All Nite” has become more well known than the original. Sure, there are other great Kiss songs that didn’t make it here, but when a live album becomes too long it also becomes harder to listen to.
This (or the Alive Box) should be your first Kiss purchase if you’ve never bought one before.
6/5 stars!
Shine On came out in ’92, I got my copy 11 years later. First, the story of how I acquired this exceptional copy, and then the review!
RECORD STORE TALES Part 71: Shine On
I still have the receipt: I paid $199.99 on February 12 2003. New, it’s going for about $440 on Amazon.com these days. I paid a lot, that is true; we did not get staff discounts on big ticket things such as this. However, when I encountered Shine On that day, I’d never seen one in better shape.
The hardcover book, containing 110 large pages of text, photos, artwork and credits, was still sealed in plastic. Nobody had even bothered to open it. The eight artwork post cards were intact in the black envelope. The little black fold-out display box was still folded, and remains so to this day. It’s a very nice touch but I prefer to keep mine as I found it.
The discs, each housed in its own shiny black plastic case, are all mint. Maybe some were never played before I got hold of it. The cases are also nearly spotless. Most of the time, the biggest defect with used copies of this set were broken cases. Each case was unique: The front of the case had a small image of the album, and the spine of the case had a piece of a rainbow embossed. Put all 8 CD cases together in the correct order and you get an image of the Dark Side prism effect. That’s why the set comes with that little cardboard display – in case you felt like showing them off this way.
Lastly, the bonus CD, The Early Singles, is intact. A set in this condition was a rarity and I’d never seen better. Over the years, every set I encountered had a defect of some kind, major or minor:
You can see why I jumped at the chance. A box of this condition, used, well that could not be passed up. Likely I’d never see one again that wasn’t sealed brand new — but as a deleted catalogue item, new copies were upwards of $300 at the time.
So, no staff discount? No problem. VISA to the rescue.
A $200 sale was a good chunk of my daily quota. Head office was in the habit of calling at 5 and checking the sales for the day so far. I read mine off, which was high obviously, but didn’t say why it was high.
“Wow! Good for you Mikey! You’ve been busy, keep it up.”
“Yeah, well, it’s been a good day y’know,” I responded. May as well take the credit for it too, right, hell it was my money.
I was dating Radio Statio Girl at the time. However I was already starting to get cynical about our prospects, having been dumped once already by this time. Our second go-round was pleasant but a bit tense. I was supposed to drive down to her place that night, but I decided to spend the evening with Syd Barrett, Roger Waters, David Gilmour, Richard Wright, and Nick Mason instead.
I called. “Yeah, hey. I’m not feeling well at all. I think I’m going to puke.”
Considering the much bigger lies she tossed my way before and after, I thought my little white lie was pretty innocuous. Especially when I was immersed in Meddle for the first time ever!
PINK FLOYD – Shine On (9 disc box set) (1992)
At the time of release, this was probably the coolest way to get some of the best Floyd discs. Now with Immersion Editions, Why Pink Floyd…?, fresh remasters, and 5.1 mixes all available, this seems pretty basic. Indeed, all albums are simple 1992-ish remasterings, no bonus material aside from the afforementioned The Early Singles disc. And just FYI, you can often find that disc on its own. Somehow it got separated from a lot of Shine On box sets.
As I described in my story above, the box’s contents are elaborate and fragile, and difficult to find complete. This is a heavy, heavy box too — not exactly portable. I find the remastering to be fine, it was 1992 and it’s probably not as loud as more current editions. Picky audiophiles, I have no idea which you will prefer.
The albums included are as follows:
Disc 1: A Saucerful of Secrets
Disc 2: Meddle
Disc 3: The Dark Side of the Moon
Disc 4: Wish You Were Here
Disc 5: Animals
Disc 6: The Wall part one
Disc 7: The Wall part two
Disc 8: A Momentary Lapse of Reason
Disc 9: The Early Singles
So you’ll notice right away that there are some important albums missing. Sure, you can understand why albums like Atom Heart Mother or Obscurred by Clouds were not included in a (merely) 9 disc Floyd box set, if the purpose was to boil it down to essentials. I think it’s a shame that The Final Cut, one of my favourites, is not inside. I would have preferred that or Piper at the Gates of Dawn to A Momentary Lapse I think.
The real bonuses to this set are twofold: The book and The Early Singles.
I don’t know what the current status of these single A and B sides are, in regards to current CD releases. I know the Piper three disc set has some of these tracks. But here’s the contents of The Early Singles:
There are no liner notes with this disc. I believe all tracks are stereo mixes.
The book is absolutely stunning and will take days to read. There are extensive interviews from magazine sources, lyrics, liner notes, a nice discography, and loads of old reviews both gushing and nasty. There’s plenty of artwork and photos to look at, too.
I won’t go too deeply into the music. Reviewing these albums each on their own would be a monumental task. Suffice to say that there is much brilliance within. I think both Dark Side and The Wall are complete triumphs while Meddle and Animals come very very close to that level. There is much to love here, and much that will take many listens to penetrate.
As a set, this is not perfect and I think the biggest flaw is the selection of albums. Having said that, for a collector who wants a beautiful deluxe collector’s item, this is easily a:
4/5 stars.
For people who would rather have something with more music on it, you’re better off going with some of the more recent reissues.
Canada Day Weekend, 1997. Rush were closing up their final bunch of dates on Leg 2 of the Test For Echo tour (June 30 and July 2). Tom, myself, Trev, and several other record store guys had the whole weekend off and went to see Rush on the Monday show, which was the first of the two shows. Outdoor show, at Molson. We did not know that a few months later, Neil Peart would experience unbelievable personal tragedy. For years, it appeared that we had seen some of the final Rush shows, ever….
One of the guys,Troy, brought his younger brother Tyler. Tyler worshipped Zeppelin. Still does. He named his (black) dog “Zep”. Back then, he was 17 and had never heard Rush. He thought Bonham was absolutely the greatest drummer who ever lived. We told him, “Tyler, Bonham was god-like. But you haven’t seen anything until you’ve seen Neil Peart.” He scoffed.
We brought some beer in the trunk of the car, and snuck into the bushes and had some drinks. We stumbled into several groups of people in the bushes, drinking, smoking (cigarettes I’m sure) and partying. It was great. We were all there, every one of us, to bask in the glory that is Rush. It was a giant communal party. Some people were already out of it, and slurring, “Duuuude…they’re gonna play 2112 dude! We are the priests of the temples of the sphinx! (sic)”
Indeed, I had heard from one of my customers at the store, that Rush were playing all of side 1 of 2112 on this tour. What would that sound like? Could Geddy even sing it anymore?
There was no opening act. There was instead a brief intro before Rush hit the stage to “Dreamline”.
At the halfway point, Rush did indeed play side 1 of 2112 (as chronicled on their Different Stages LP). They took a brief break before coming back to finish the show. These being the last Toronto shows of the tour, the roadies were out there clowning around, playing with puppets, all to the delight of the patriotic crowd.
Of course, the Professor did his unbelievable drum solo. This was around the time that Freddie Gruber had been teaching Neil, and Peart was beginning to feel jazzier in his style.
Tyler was blown away. “You were right…that guy was almost as good as Bonham!”
Tom and the rest of the guys were so blown away, they actually bought some more tickets from scalpers and came back to see the second show on July 2.
By far, the best and most patriotic Canada Day Weekend I ever had was seeing Rush. What could be more patriotic than rocking to Canada’s official ambassadors of music?
MOTLEY CRUE – Shout at the Devil (2003 remastered edition)
If Too Fast For Love was nothing more than a gloriously wreckless demo pressed to vinyl, then perhaps Shout is the first “real” Motley Crue album. It is certainly among the best, with only Too Fast and ’94’s self-titled coming close to the metallic goodness of this disc in my world. It is a shame that the original cover did not survive to CD (a pentagram embossed on a pure black cover) because it was a statement of purpose: You are about to Shout at the Devil.
Instead, the CD (and cassette!) cover had four makeup wearing dude-chicks scowling, primping, preening and teasing. However, it was the 80’s, and it was OK then. Don’t let the cover scare you away. The Japanese vinyl replica CDs also have a replica of the original pentagram cover. I had one years ago, but sold it off to buy the remaster with bonus tracks. But we’ll get to those later.
The album opens with a piece that, when we were kids, I loved and played over and over again because it just sounded cool: the spoken-word “In The Beginning”. “In the beginning, good always overpowered the evil of all man’s sins…” It sounded cool, so we used it on Halloween tapes and just about anything else we could think of.
Then, the opening chords of “Shout At The Devil” hit you right between the eyes, Mick’s guitar as wreckless and hammering as ever. The man had yet to really discover his bluesier talents; for now he was just content to sloppily riff you to death. All is well. Vince Neil drunkenly slurs every lyric, but it works. Tommy’s drums are as simple but as hard hitting as ever. Really, Tommy’s not a great technical drummer but his hard hits give him a great sound perfect for this album.
You should know most of these songs: The adrenaline rush that is “Looks That Kill”, the mid-tempo harmonies and drama of “Too Young To Fall In Love”, and even the Beatles cover “Helter Skelter”. Side two of the album is the real surprise, loaded with non-singles that kick as much butt as the singles. “Red Hot” is a proto-thrash number, while “Knock ‘Em Dead, Kid” is as good as anything on side one. There’s also the equally good but controversial “Bastard”. The PMRC attacked it for the line, “In goes my knife, I pull out his life, consider that bastard dead.” When I was 12 years old, we owned this on cassette. There was no lyric sheet and Vince Neil slurred so much, you couldn’t make out the lyrics. I had no idea at all what he was singing until about a decade later. By then I was old enough to understand that it’s just storytelling.
There’s a bit of filler in “God Bless the Children of the Beast”. It’s nice for Mick Mars fans, a caveman version of neo-classical guitar, but otherwise it’s just an intro to the manic “Helter Skelter” cover. Kind of like how Sabbath used to throw in a slow instrumental just before hammering you once again with riffage, just that I think Sabbath’s stuff was a little better executed.
The bonus tracks here are rough and not nessesary, except for collectors (like this guy!). “I Will Survive” was completely unreleased until the first run of Crue remasters came out. It’s a decent track but not up to the album’s lofty standards. “Hotter Than Hell” is a demo version of “Louder Than Hell” from the next album. (Not availablke on this CD is a great track called “The Black Widow”, finally released a little later on Red, White & Crue. Also missing is “Sinners and Saints” which is on Supersonic & Demonic relics.)
There are also three more demos from the albums sessions: “Shout”, “Looks That Kill” and “Too Young”. The 1999 remastered edition did not have “Too Young To Fall In Love”. That was a Japanese bonus track instead.
There’s also a music video for “Looks That Kill” for your PC if you care, but I don’t. All the Crue vids were made available on the Greatest Hits DVD.
I believe Shout At The Devil is the essential Crue album to own, and also a great metal album for any collection. Yes, Priest, Sabbath, Maiden and Purple are the cornerstones, but Motley Crue for a short time were the flag bearers. This is a great sloppy metal meal, a burger and fries with all the works. Enjoy the meal.
5/5 stars.
Original LP artwork, and remastered CD back:
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