Alice Cooper

REVIEW: Alice Cooper – The Breadcrumbs EP (2019)

ALICE COOPER – The Breadcrumbs EP (2019 Edel)

Alice Cooper wanted to do a Detroit garage rock record and pay homage to his roots.  And so we have The Breadcrumbs EP, six tracks of stripped down goodness, ironically produced by Bob Ezrin.  The 10″ vinyl is limited to 20,000 copies.  Somehow, by the grace of the black widow, we scored #48!

For these special songs, Alice is backed by the MC5’s Wayne Kramer, bassist Paul Randolph, Grand Funk’s Railroad Mark Farner, and Detroit Wheel Johnny “Bee” Badanjek. A remake of Alice Cooper’s “Detroit City” (from The Eyes of Alice Cooper) is an appropriate starting point:

Me and Iggy were giggin’ with Ziggy and kickin’ with the MC5,
Ted and Seger were burnin’ with fever,
and let the Silver Bullets fly,
The Kid was in his crib, Shady wore a bib,
and the posse wasn’t even alive.

That’s some rock and roll poetry right there.  Not one of Alice’s finest songs but worthy of a second chance.  Then “Go Man Go” is a new original composition co-written by Wayne Kramer.  It’s punk rock Alice, as authentic as the bands he’s paying tribute to.  Bob Seger’s “East Side Story” closes the side on a steady groove, right out of Hendrix’s version of “Gloria”.

A really funky “Your Mama Won’t Like Me” (Suzi Quatro) is the centrepiece of the EP.  Horns blastin’, Alice hasn’t been this funky since his dance-oriented Alice Cooper Goes to Hell in 1976.  “Devil With a Blue Dress On” (Mitch Ryder and the Detroit Wheels) is the soulful side that Alice occasionally shows.  It’s merged with “Chains of Love” (J.J. Barnes) which pulls everything back to rock.  Finally “Sister Anne” by the MC5 puts the snot on the nose and the grime in the rock.  Kramer’s simply awesome riff is perfectly complemented by Cooper.

If copies are still available, get one.  Cooper fans will love the change of pace, while rock and rollers will adore the authenticity.

3.5/5 stars

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Just Listening to…Alice Cooper – Welcome 2 My Nightmare

I was very enthusiastic for this album when it came out in 2011:  four copies purchased (to get all the bonus tracks) and a 5/5 star rating.  I can hear what I loved about it so much, even if the feelings are faded today.  That’s what makes these “Just Listening” writings interesting!

The original Nightmare is still a favourite and always will be.  Factors that appealed to me about the sequel album are the musical and lyrical callbacks.  These recurring cues unite both albums quite successfully despite the decades that passed.  Musical sequels can be a dicey affair (Mindcrime 2, anyone?) but Alice Cooper and Bob Ezrin managed to do the near-impossible.

The standard album runs 52 minutes, and that’s just a tad long.  Although there are no obvious duds to cut, the original Nightmare was more effective because it was more concise.  (You want a longer experience?  Adding in all the bonus tracks more than doubles the album’s length!)  Regardless of the digital age that most of us inhabit, there is something to be said for the length of a standard LP.  It just happens to jive with the natural attention spans of the human mind.  The new Nightmare crams 14 tracks into that 52 minutes, and it plays out as a lot to absorb.  Especially after giving the album a rest for a few years.

Another way in which the second Nightmare is inferior to the first is the overall tone.  Nightmare 2 is far more humorous.  A couple tracks (“Ghouls Gone Wild” and “Disco Bloodbath Boogie Fever”) are there for the laughs.  That’s fine — Alice Cooper does humour in music better than 99% of those who try.  The original Nightmare had its fun, but the tone of the album was far darker, especially with songs like “Steven” and “Only Women Bleed”.  You’re going to have a preference one way or the other too.  I prefer the darker original Nightmare to the more comedic sequel.

These are all very fine hairs to split.  I still like the album, a lot.  I believe it to be Alice’s best from the last two decades.  There’s very little wrong with it.  I just don’t think it matches the first as much as I once did.

#770: Encore!

GETTING MORE TALE #770: Encore!

I’ve been avoiding downtown Kitchener for the last couple years.  All that construction (five years’ worth) installing our new light-rail transit system…it’s been hellacious.  But that construction is now over, and the LRT train (called the ION) is running every 15 minutes.  Only two years behind schedule!  And guess where one of the stops is?  Right by legendary record store Encore Records.  Perfect!  No need to worry about parking.

Mrs. LeBrain and I hopped on a bus to the mall, and a few minutes later the train pulled in.  Using the free Wi-fi, I live-streamed myself making goofy faces on our new train.  The ride was quiet and fast since it only stopped a handful of times.  These new trains are lovely!  Now that they are finally running, I can see that the headaches will be worth it.  Clean and quick – I’d use the ION again.  It’s a shame but there are still people who hate the train so much that they would actually like to spend taxpayer money on ripping up the tracks!  What a waste that would be.  Let’s give this LRT a fair shake.

We disembarked the train at the City Hall stop, only a brief walk from Encore.  Not only was this my first ride on the train, but also my first visit to Encore since they moved from their old Queen St. location.  The new store, though not wheelchair accessible, seemed bigger and cleaner.  Old pal Al “The” King was there, happily still slinging the rock for us patrons.

We chatted a bit.  Al really enjoyed working at Encore.  There was a guy that I trained at my old Record Store about 15 years ago.  He left shortly after to work at Encore, and he’s still there!  When you find a place you enjoy working, I guess you stay!

Time to go look at music….

It didn’t take long for me to exceed my budget for the day.  First snag was from the new release rack:  The Beaches’ excellent new EP The Professional, $9.99.  A great recording; it will be getting a few spins this summer.  Next:  the used CD racks.  Plenty of stock as usual.  I came looking for old Styx, but there was no used Styx that I needed.  Instead I grabbed three Scorpions remasters:  World Wide Live (with DVD), Savage Amusement (with DVD), and Animal Magnetism.  $20 each.

Whoops!  I already owned Animal Magnetism.  No big deal; looks like some lucky person will be getting a free copy from me.  I really have to keep track of reissues better.  This is happening more and more frequently as my collection grows.

I still wanted some more classic Styx.  I’ve been playing my Styx albums repeatedly.  I needed some more classics to throw in the shuffle, so I moved on to the new CD racks.  There I picked up Pieces of Eight and Crystal Ball.  $9.99 each.  One by one and I’ll get them all.

Continuing through the racks of new stock, I spied two Kick Axe remasters by Rock Candy.  I’ve wanted both these albums for a long time:  Vices and Welcome to the Club, $22.99 each.  I’ve spun through both twice and was impressed with both the music and liner notes.  What an underrated singer George Criston is.  This sparked more Kick Axe purchases later on Discogs and Amazon.  The third album, Rock the World, is coming in the form of another Rock Candy remaster.  And thanks to the excellent liner notes inside Vices, I also tracked down some early Kick Axe on Discogs.  Debut single “Week-End Ride” / “One More Time” from 1981 is inbound!  Also coming, from the same year, is a compilation LP called Playboy Street Rock.  Kick Axe have a live track on that called “Reality is the Nightmare”.  It’s going to be cool hearing those early songs, which had a different singer.

It’s funny about Kick Axe.  One of the first buttons I ever bought for my jacket was Vices.  It only took close to 40 years to finally get the album.

Finally we closed the Encore trip with some vinyl.  A lovely reissue of Alice Cooper’s Zipper Catches Skin, on clear “black smoke” vinyl.  It looks and sounds great, and now I finally have all the Alice Cooper studio albums.

We bid farewell to Al and headed home again on the ION.  Now that the train is up and running, I do believe I’ll be making Encore a fairly regular weekend stop.

5/5 stars

 

 

REVIEW: Hollywood Vampires – Rise (2019 3 CD Japanese edition) Part 2 – Live

Part two of a two part review

Check out part one, the studio album Rise, by clicking here.


HOLLYWOOD VAMPIRES – Rise (2019 Edel Japanese edition) – Discs 2 & 3 Live

How do you do a Japanese edition up right?  How about including 21 bonus tracks in the form of a double live album?  Get your credit cards out, folks.

Hollywood Vampires Live unfortunately lacks any English documentation, but Japanese readers might know when and where this show was recorded.  It focuses on the covers with a handful of originals, the basis of the first Hollywood Vampires album.  Unfortunately a few more fallen heroes have been added to the list of rock casualties, and so Lemmy and Bowie are among the stars honoured.

The original tune “Raise the Dead” (featuring an intro by the late Sir Christopher Lee) opens the show, but it’s just preamble for the better known covers.  “I Got A Line On You” is the first track where you realize you’re listening to Matt Sorum (Guns N’ Roses, The Cult) on drums.  He’s unmistakable.  The big surprise is that the bassist is Robert DeLeo (Stone Temple Pilots)!  Alice first covered this tune back in ’88 and it sounds like it’s one of his own songs now.  “20th Century Boy” has bite, a little more than the studio cut.

Alice pauses to explain the concept of the band.  “We are the Hollywood Vampires,” he asserts.  “We pay homage to all of our dead drunk friends.  And here comes one now.”  It’s Keith Moon and “Pinball Wizard”, a Who cover that was not on the Hollywood Vampires’ debut album.  “My Generation” was however, and here it’s injected with the live fire of the sweaty concert stage.  Jimi Hendrix is honoured next with “Manic Depression”.  Joe Perry playing Jimi Hendrix.  Cool.   Alice Cooper has no problem jumping from style to style, expert performer that he is.

“This one’s for John,” states Alice.  That would be John Lennon, with both “Cold Turkey” and “Come Together”.  Joe Perry, of course, is no stranger to “Come Together” which Aerosmith scored a hit with themselves.  “Come Together” is another nice bonus because it wasn’t on the Vampires album.  It has a different feel from Aerosmith’s take even though it’s the same guitar player.

“Seven and Seven Is” (by Arthur Lee and Love) goes next, which is a late addition to the canon.  The Vampires recorded it as an iTunes bonus track for the debut album where it remains an exclusive.  The live version is a blitz; Matt Sorum’s sticks must have caught fire.  Contrasting that is the band’s interpretation of “Whole Lotta Love”, with Alice and Tommy Henriksen singing lead instead of Brian Johnson.

“I met these guys in 1968.  They were my best friends.  And I drank a little bit with Jim Morrison…”  The Doors are next to be saluted.  “Five to One” and “Break On Through” kick ass; Alice really gives ‘er.  David Bowie gets the nod on “Rebel Rebel” and “Suffragette City”.  It all sounds natural to the Hollywood Vampires.

“As Bad As I Am” is an original song about Johnny Depp, and another track that was only on the iTunes version of Hollywood Vampires.  It sounds a bit like “Reckless Life” by Guns N’ Roses.  Joe Perry takes the next lead vocal on “Stop Messin’ Around”, the old Peter Green’s Fleetwood Mac blues number.  It’s an obvious choice since Aerosmith covered it on their 2004 blues album Honkin’ on Bobo.  This one is an extended jam, far beyond what Aerosmith did with it.

“My Dead Drunk Friends” is a Vampires original, sort of their raison d’etre, that being paying tribute to Alice’s deceased drinking buddies.  It pales in comparison to “Ace of Spades” (lead vocals by Henriksen), easily the heaviest song that Joe Perry’s ever played on.  Possibly Alice too.  Check out DeLeo on bass, doing his best Lemmy.  It’s sad that Lemmy Kilmister joined the list of Rainbow regulars who didn’t make it, but holy shit, what a version!

Only now, at the end of the concert, do the Vampires roll out their own past hits.  “I’m Eighteen”, “Sweet Emotion”, “Train Kept A Rollin'” and “School’s Out” sound brilliant.  In particular, to hear “I’m Eighteen” with Joe Fucking Perry playing guitar?  “Sweet Emotion” with Alice Cooper singing?  Sweet Jesus Murphy, is this a fever dream?  As usual, Alice melds “Another Brick in the Wall” to “School’s Out” pretty much making it the definitive “school” song.

Closing the show, Alice reminds us:  “And remember, give blood!  To us!”

If the Vampires keep putting out quality releases, then that’s a distinct possibility.

4/5 stars

REVIEW: Hollywood Vampires – Rise (2019 3 CD Japanese edition) Part 1

Part one of a two part review


HOLLYWOOD VAMPIRES – Rise (2019 Edel Japanese edition) – Disc 1

The first Hollywood Vampires was a covers album with a few originals.  The second is an originals album with a few covers!  It’s a little strange and kind of sounds exactly how you think it would.  Alice Cooper, Joe Perry, Johnny Depp and pals obviously set out to have fun, which is audible, but there’s also a weird bent that runs through.  Interestingly some of the best songs are the ones that sound like Aerosmith riffs, done up far better than Aerosmith would have lately.

At the outset, the Aerosmith flavour dominates the stew that is “I Want My Now”.  It’s “Draw The Line” meets Alice Cooper.  You can hear what it would have been like with Joey Kramer on drums, Tom Hamilton on bass and Steven Tyler shrieking up front, but instead it’s Alice, who has had a much more consistent output of late than Aerosmith.  In other words, Perry’s riffs are in good hands and the guy deserves to have a lil’ fun.  His guitar work has the looseness that Aerosmith shed years ago.

“Who’s Laughing Now” is psychedelic Alice, which could be the Depp influence. It’s a really good tune accented by 8-string bass (by Tommy Henriksen) and Joe Perry’s unmistakable guitar expertise. It’s also bookended by two weird instrumentals that appear to be Depp creations. Unfortunately all this lead-up ends at the slow and stodgy “The Boogieman Surprise”, probably the weakest tune. This starts a lull. A farcicle “Welcome to Bushwackers”, featuring Jeff Beck, is a token hillbilly country tune that doesn’t live up to its promise. The highlight, obviously, is Jeff Beck.

Course is corrected on Joe Perry’s lead vocal, a surprising “You Can’t Put Your Arm Around A Memory”, the Johnny Thunders song previously covered by Duff McKagan. Joe’s version is poignant and wise. “Git From Round Me” is a pulsing, hypnotic charge through the gates with Johnny Depp sharing vocal duties with Alice and Tommy. Depp takes one by himself on the Bowie cover “Heroes”, a surprisingly outstanding version. According to Cooper, Johnny Depp (who is currently fighting an acrimonious divorce battle with two-way accusations of domestic violence) had a lot of emotion to put into Rise.  Perhaps that’s what gives “Heroes” its weight, though it’s not a heavy song.

The best of the brief instrumentals is by second bassist Chris Wyse, called “A Pityful Beauty”.  The song it precedes, “New Threat”, is OK.  It is not up to the better material, sounding a bit like a stock riff & rhythm.  Fortunately “Mr. Spider” has a classic Cooper atmosphere, brimming with drama and horror.  Also sounding like classic Alice, but a different kind, is “We Gotta Rise”.  It’s “Elected” all over again with a Billion Dollar Babies mold, starring “President” Alice Cooper.  Alice isn’t political, but it’s hard to read these lyrics as anything but:

“We gotta rise, let’s rise,
We gotta rise, let’s rise above the lies,
It’s you and I, it’s do or die,
We gotta rise, let’s rise above the lies.”

Maybe that’s reading too much into it, but it sure does sound like a call to arms.  Regardless, “We Gotta Rise” is the best original song on the album.  Depp’s next lead vocal, the Jim Carroll cover “People Who Died” is just about its equal.  A rockabilly punk rocker, “People Who Died” is catchy as the flu, but better for you.

Rise concludes with an interesting spoken word track called “Congratulations”.  It works because Alice, Johnny and Joe have rich speaking voices.  Tommy Henriksen gets a spoken word portion too, using his more like a beat poet.  What you’d think would be a boring slog turns out to be an album highlight.

It’s hard to fathom where Rise will sit in six months time or a year.  It has moments less than stellar, where fat could have been cut, but the weirder escapades could warrant many returns.  Bad press aside, Johnny Depp is charismatic on record.  Joe Perry sounds like he’s having fun playing rock and roll away from Aerosmith.  And Alice?  When has he ever sounded like he wasn’t having fun?

Rise will probably have more longevity than the Hollywood Vampires’ covers album, it just needs to lose some dead weight.

3.5/5 stars

Come back tomorrow for a look at the Japanese exclusive Discs 2 and 3:  Hollywood Vampires Live.

 

 

#769.5: Paranormal Mail

As birthday celebrations creep into the following week, gifts continue to arrive!

Aaron of KMA fame is known far and wide for his generosity and creativity in finding the perfect gifts.  He was worried about this one.  Sending a digipack CD in a bubble mailer doesn’t always guarantee safe arrival.  He threw some plastic wrap around it as an extra layer of protection from the elements.  His precautions did the trick and now I am the happy owner of a signed copy of Alice Cooper’s Paranormal!

A great album, Paranormal is a fully-loaded deluxe double CD with a smoking live disc.  And now I have a signed copy to top it off.  Aaron and I briefly discussed what the hell would make someone trade in a signed Alice CD?  I didn’t have anything signed by Alice, until now.  This is a first for my collection.  Whatever the circumstances, I’m glad to be the benefactor.

Thanks Aaron — you know my “Paranoiac Personality” very well!

REVIEW: Alice Cooper – “It’s Me” (1994 single)

ALICE COOPER – “It’s Me” (1994 Epic single)

The Last Temptation, Alice Cooper’s acclaimed 1994 concept album, spawned a couple collectable CD singles.  Collectable, because 1) they had unreleased live B-sides, and 2) Eric Singer of Kiss played drums on them!

As far as Alice ballads go, “It’s Me” is not particularly special.  The song fits into the story of the album, but it’s musically in the same vein as the ballads from Trash and Hey Stoopid.  The mandolin is a nice touch, but Alice has more fondly remembered ballads.  “It’s Me” works best as part of the album it was written for.

The two live tracks were recorded in ’91, which actually makes Eric Singer pre-Kiss in this case.  “Poison” is stunning sounding live, but still with rich backing vocals.  The chorus of “Poison” requires several backing singers and Alice’s bands are always equipped for the job.  You can’t tell if Eric Singer is one of the vocalists, but you can easily recognise his style on the drums.  That’s him alright!  “Sick Things” is a strange one live; always has been.  Here, it is inflamed by guitarists Stef Burns and Pete Freezin’ (Freisen).

Alice’s CD singles were hard to find in the early 90s, but thanks to the internet you can get them affordably.  If you’re a Kiss collector, this is one to consider.  If not, just enjoy a snapshot of Alice live during an era that is so far undocumented by a live album.

3/5 stars

REVIEW: Alice Cooper – A Paranormal Evening With Alice Cooper at the Olympia Paris (2018)

ALICE COOPER – A Paranormal Evening With Alice Cooper at the Olympia Paris (2018 Edel)

You don’t so much ask if a new Alice Cooper live album is good; instead you just ask what songs are on it.

A Paranormal Evening With Alice Cooper at the Olympia Paris (what a mouth full) features “Hurricane” Nita Strauss on lead guitar, Chuck “Beasto Blanco” Garric on bass, drummer Glen Sobel, and guitarists Ryan Roxie and Tommy Henriksen.  Guys like Garric and Roxie are the veterans, but Nita Strauss is a serious focal point.  She can really shred.

The setlist spans most of Cooper’s career.  The CD even opens with “Brutal Planet”, which was the set opener back in 2000 on the Brutal Planet tour.  The industrial-tinged song is less jarring live.  From there, onto the oldies:  “No More Mr. Nice Guy”, “Under My Wheels” and “Department of Youth”.  Alice’s band are capable backing singers and they tend to focus on the melody while Alice does his schtick with character.  I won’t tell you who Alice name-drops in “Department of Youth” (remember, it used to be teen idol Donny Osmond).  That’s a surprise.

Another surprise:  the fabulous “Pain” from Flush the Fashion.  The powerful dark pop is heavier live, enriched by three guitars in harmony.  Alice can still infuse the song with suffering, even decades later.  Back to an oldie for a moment with “Billion Dollar Babies” (absolutely massive with three guitars) and then another surprise:  “The World Needs Guts”.  Very few songs from Constrictor get played live, and this one is a live album debut.  There’s a certain nostalgia now for the Kane Roberts era, and “The World Needs Guts” thrills my gorilla on this album.  Then to another niche album, 2005’s garage rock of Dirty Diamonds.  It’s an underrated gem of an album, and so “Woman of Mass Distraction” is a welcome selection, though others would have been more interesting.

“Poison” is a perennial, and here it is again representing 1989’s Trash album.  Every Cooper lineup has its own touch with it.  This one isn’t the sleekest version but it’s the most thunderous.  To cap off the first CD, it’s “Halo of Flies” from “Killer”, almost 11 minutes in length.  This is the kind of deep cut you crave, complete and unedited.  Once again, the three guitars really enrich the sound.

Another regular, “Feed My Frankenstein”, is one I could live without.  But this one is a generational song.  Fans who grew up in the early 90s remember it from Wayne’s World.  It’s the song Mrs. LeBrain sang along to in the car.  Boring to some, a highlight for others.  Then it’s back to “Cold Ethyl” from Welcome to My Nightmare, a stone-cold classic (pardon the pun) highlighting the rock and roll side of Alice.  The trade-off guitar solos are a newer twist.  From the same album comes “Only Women Bleed”, and really the only slow song in the set.  Alice doesn’t need to take it slow!

It took this long to play the one and only new song, “Paranoiac Personality“.  It’s not always like this — in the past Alice has peppered his set heavily with new material.  For whatever reason, this time the focus is on the variety.  There are new songs that will unfortunately never get the chance to shine live.  Still, it’s hard to complain, especially when the next song is “Dwight Fry”, the second epic on the album.  A medley of “Killer” and “I Love the Dead” keep that same vibe.

“I’m Eighteen” is the beginning of the end, with “School’s Out/Another Brick in the Wall” ringing the final bell.  Listen to the band introductions for something that Alice rarely does.  Take a minute and appreciate how great Alice’s band is — and always has been no matter the lineup!

A Paranormal Evening With Alice Cooper at the Olympia Paris (say that three times) comes highly recommended.  Anyone who collects Alice Cooper will find something here that they’ve wanted to hear live.  Has any artist been as great as Alice for as long as Alice?  Very few, and this album proves he’s still the one and the only.

4/5 stars

 

 

 

#728: Christmas Eve 2018

GETTING MORE TALE #728: Christmas Eve 2018

Way back in the 80s, my sister and I would get so hyped up for Christmas that we would actually “play” Christmas.  How do you “play Christmas”?  You pretend to go to bed, then one of you makes jingle bell sounds.  You run to the other’s room and tell them that Santa came!  Then you leap downstairs and pretend to open presents.  I swear to God, this is what we did.  “Oh look I got Atari Pac Man!”  Killing time was hard when you’re a kid on Christmas holidays.  We’d invent anything just to kill an hour.  Parents would have preferred that we help out instead of playing around.

It’s 2018 now and Sis is probably working hard getting ready to host dinner tonight.  Beef fondue again.  Always good.  If your meat isn’t cooked right, it’s your own fault!

I’ve been off for a couple days, trying not to work too hard.  This year, I decided to focus on playing vinyl during the Christmas break.  As I write this, to my immediate right is a bright clear pink disc spinning at 33 1/3 RPM.  It’s a vinyl exclusive, which quite frankly, is the best thing to enjoy on LP.  Live From the Astroturf is a very rare Record Store Day live album, featuring the surviving members of the original Alice Cooper Group reunited.  I’ve been ogling it ever since it arrived a few days ago.  I finally cracked the seal and placed it carefully on the platter. I had no idea what colour the vinyl would be until that moment.  There are 12 randomly inserted colours!  In addition, the photo on the label B-side is random (mine is Dennis Dunaway).  Let me tell you people, there is nothing like the original Alice Cooper band, playing the original songs.

Another wonderful sonic experience is playing a brand minty new record, so clean that you can’t tell it’s not digital.  Contrarily, it’s also unique to play an old record and hear the same pops and ticks that the previous owner heard too.  The first record I played this holiday was Jen’s mom’s old Buddy Holly Story soundtrack.  Got the movie, never heard the soundtrack.  It does exist on a pretty rare CD, but once the needle hit the groove I realized I’d rather listen to the same record her mom did.  It creates a connection, almost like a time machine.  (Even though I planned on taking it easy, I did write a review and you can look for that in the new year.)

I still have time to squeeze in a couple more records before the festivities begin.  I’m sure you’re busy and I won’t take up any more of your time!  For those working retail:  Hang in there and it will be all over soon.  At least until December 26.

It’s weird to be finishing this article while the original Alice Cooper Group sings, “School’s out for summer, school’s out forever”!  That’s how it worked out though, and it’s funny enough to mention.  To all of you, I wish a safe and happy Christmas.  It goes by so fast, try to savour the moments.

Merry Christmas readers and friends, and remember:  “School’s out for summer!”

 

 

#723: A Tribute to James

GETTING MORE TALE #723: A Tribute to James

Anyone who reads these pages regularly knows what I’m talking about.  Good friends who also love music are crucial to an ever-growing CD collection.  When you have friends in different parts of the world, it’s even better.  Today we’re paying tribute to one such friend who has done so much for my music collection.  That man is Regina’s own James Kalyn.

Funny thing:  I’ve never met James.  I know James through mutual friend Aaron.  (Together, James and Aaron are The KMA.)  Aaron talked about this guy who loves Sloan and music in general, and figured we would get along.  Shit got serious when Sloan started releasing limited edition fanclub live albums and boxed sets.  James would pick up three copies each time:  One for him, one for Aaron and one for myself.  Thanks to James I’m a proud owner of things like the Twice Removed box set.

In addition to Sloan vinyl, James has also acquired for me a number of Record Store Day limited editions.  Sometimes I can’t, or just can’t be bothered, to go.  James has an “in” with his local record store guy, and often knows what they’ll be carrying and how many copies.  Last year he scored me Jimmy Page & The Black Crowes’ Live at Jones Beach.  I couldn’t find one locally, but his guy had it.  A few days later, I did too, packaged with care by James.

There are few things that James failed to find for me.  As a collector, I put a limited scope on what I’m hunting for.  If there is a release with exclusive music on a physical format by an artist I collect, then I want it.  In 2016, Alice Cooper released a very limited Record Store Day single called Live From the Astroturf.  This was a single from a special concert featuring the surviving members of the original Alice Cooper group:  Michael Bruce, Dennis Dunaway, and Neal Smith.  Sitting in for the late Glen Buxton was Ryan Roxie from Cooper’s current band.  It was heartbreaking for me, but even James couldn’t get me a copy.  Prices on Discogs were insane.  I guess I would just have to do without it.

Unexpectedly, 2018 offered a surprise:  a full album release of Live From the Astroturf!  Not just two songs, but the full set!  I collect the music more than the releases, so I would be perfectly satisfied with this.  Guess what happened?

James came through!

It wasn’t cheap.  It was $80, but James tells me “there’s stuff inside” (a poster and a 16 page booklet).  Plus the record inside will be one of 12 random colours!  “Collect all 12,” says the ad on the front.  Let’s do the math on that.

12 x $80 = …holy shit.  $960 bones!  And that’s if the random inserted vinyl colours don’t happen to be the same.  You’d blow through a thousand bucks and more trying to collect all 12!  But somebody out there has done it, I’m sure.

I haven’t opened mine yet.  I’m just going to stare at it a while.  Maybe tomorrow I’ll open it.

Thanks James.  You are truly a man among men!

Recorded October 6 2015 at Good Records, Dallas

Tracklist:

  1. Caught in a Dream
  2. Be My Lover
  3. I’m Eighteen
  4. Is It My Body
  5. No More Mr. Nice Guy
  6. Under My Wheels
  7. School’s Out
  8. Elected

2018 Good Records