DVD

#457: Making the Best Buy (Or, making lemonade from lemons)

SOUTH PARK

GETTING MORE TALE #457: Making the Best Buy
(Or, making lemonade from lemons)

In Getting More Tale #326, we lamented that the once-mighty retail chain Best Buy isn’t what it used to be.  This time, we’ll take a look back at the store’s history.

Who doesn’t love those fact-filled Uncle John’s books and calendars?  Here’s the entry for December 2 2015.  Before reading this I had no idea, nor did I really care how Best Buy started.  Uncle John changed my tune:

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Scan from the Uncle John’s 2015 desk calendar.

Back at the Record Store days in the early 2000’s, the Boss was bracing for a new Best Buy store to open nearby.  He figured that we’d probably feel some short term pain, but in the long term the store should draw more customers to the area and we’d benefit from their presence.  He also strongly encouraged us not to shop there, a big US chain edging into our turf.

I tried to avoid shopping there at first, but the convenience was too much to resist.  When I needed printer ink, computer supplies, or a new movie release, they were right there, and they usually had everything I came in for.  That made it hard to avoid.  I still tried to shop locally — I remember making special trips to Steve’s TV in Frederick Mall to buy the Star Wars trilogy on DVD.  Between big items like TV sets, and small ones like candy, I know I have easily spent thousands of dollars at our local Best Buy stores.   They also had hard to find items, such as the rare ZZ Top box set that came in a little box shaped like a barbecue shack (Chrome, Smoke & BBQ).  The guilt felt for shopping a big US conglomerate was tempered by the savings and convenience.

That was then.  As mentioned in chapter #326, Best Buy took a serious dump a few years ago.  Still, a few weeks back, I had the chance to stop by one with my friend and sometimes contributor, Thussy.  We had an hour to kill before a work dinner, so we popped into Best Buy, prepared to spend money if they had something we wanted.  We spent an hour in the store, but no dollars.

The one thing I would have bought would have been the new Adele CD, 25, for my mom.  (Yes, it’s for my mom.)  I know Best Buy pretty much cut audio CDs from their stores completely, but hey, it’s Adele.  Worth a try, right?  Even my grocery store has the new Adele.  Best Buy did not have the new Adele.  I wasn’t really surprised.

We were tempted by some of their blu-ray deals.  We saw a reissue of Monty Python and the Holy Grail, which I have already bought thrice, no more no less, over the years: VHS, DVD, and special edition DVD.  This new version was a blu-ray, with the same features as the DVD, but a neat little castle set and plastic animals to catapult over it.  Very tempting indeed.  But both of us said no.  We survived their $7.99 cheapie blu-ray bin without spending a penny.   The only thing that was almost a serious temptation was that new remote controlled Star Wars Sphero BB-8 toy. It was $180, and it is definitely a neat little toy. But what the hell was I going to do with it? With a big record shopping excursion in Toronto on my horizon, the $180 would be better saved.

It was a pleasant trip to Best Buy, and we marvelled at all the new televisions and gadgets.  We were asked by one pleasant employee if we needed any help, and only once, which is exactly how you want it.

Best Buy, what happened to you?  Obviously, their story didn’t end with opening 1000 superstores.  They continued to grow, by acquiring other electronics and music retail chains, such as Sam Goody.  Their presence in Canada was felt in 2001, when they bought out our own, similar chain:  Future Shop.  That’s when they began horning in on our territory, and freaking out the Boss.  They continued to expand and acquire, and their services such as the Geek Squad became household names.  It seems this is where Best Buy and I parted ways, as they focused more and more on electronics, and less on the media that I often came in for.  They bought mobile phone stores and services, and became the first non-Apple distributor of the iPhone in 2008.   Phones, game consoles and tech support took over the spaces once designated for music.  Meanwhile online, Best Buy’s on-demand movies, improved web sales services, and quick delivery began to dominate.  I bought my laptop online, and it was at my door to me a few days later in the post.  Around 2010 however their sales began to dip, but Best Buy shed some weight in order to continue to survive.

It just hasn’t happened with much of my help.

This year, Best Buy’s Canadian acquisition Future Shop bit the dust.  I hadn’t done much shopping there lately either, for the same reasons as above.  The two stores were all but identical, and sometimes existed side by side!  It was no wonder they shut their doors.  Others re-opened under the Best Buy banner, but it was a major hit for the company.

I think Best Buy will continue to exist, but as online ordering and home delivery becomes the norm, I think the stores will be able to shrink in size and survive.  Large items like televisions might remain in-store for customers to try out, or to pick up after ordering online.  Small items like movies might be phased out altogether, since Amazon’s own home delivery is the king of convenience.

I will continue to watch Best Buy, and sure, I’ll be cheering from the sidelines.  I would very much like to buy something cool at a great price from them again, some day.

 

SEAN BEAN MEME

 

REVIEW: Whitesnake – The Purple Album (2015 Japanese & deluxe editions)

WHITESNAKE – The Purple Album (2015 Frontiers,  Japanese & deluxe editions)

One old school buddy of mine, Rob Vuckovich, was a huge David Coverdale fan back in the 1980’s, but mostly a Deep Purple fan. He took great pride in telling me that he went to see Whitesnake on the 1987 tour. He held aloft a sign that said “PLAY PURPLE”. David reportedly acknowledged his sign by saying, “We’re not doing any of that!” What changed?

Jon Lord’s dying wish to his friend David Coverdale was to somehow reform Deep Purple MkIII. “Life’s too short and too precious to hold any animosities,” learned David after Lord’s passing. He reached out to Candace Night, wife of Ritchie Blackmore, and eventually spoke to the Man in Black about a Lord-less reunion. Blackmore was intrigued and David started working on updated arrangements for the tunes. He didn’t want to sing them in the same way that he did in his 20’s. The situation with Ritchie didn’t work out, but David did not want the work he had gone to on the new arrangements to go to waste. He approached his band and asked them what they thought about a Deep Purple covers album. The response was instant. Joel Hoekstra (guitar) in particular was pumped.

The result is The Purple Album. Sourced from Coverdale’s three albums with Deep Purple (Burn, Stormbringer, and Comes Taste the Band), 15 songs were selected. It’s hard to argue with the selection, either. There are chances taken. “Holy Man” is a damn hard song to sing, and it was originally performed by Glenn Hughes, not David. And four, count ’em, four songs (on the deluxe) from Come Taste the Band, perhaps the most underrated album in the Purple canon.

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The sound is “Snaked up” as David says, which means modern guitars and technical shredding. To his credit, David really let his band play instead of copying Deep Purple. Joel Hoekstra is a hell of a guitarist, able to shred. He has brought some soul back to Whitesnake that I felt was missing from their two studio albums with Doug Aldrich. Other songs are stripped down, such as the now-acoustic “Sail Away”. This song is dedicated to Jon Lord and it’s certainly among the best songs on The Purple Album. It’s very “live” in the studio.

Is it necessary? Hell no, but David’s entitled to do what he wants. Nobody else is keeping these songs alive except for Glenn Hughes now and then. Jon Lord would be delighted with the quality of it, but he would surely be saddened that Deep Purple MkIII has never reunited. Since that was indeed the case, David and Whitesnake worked very hard on plenty of new parts and licks for their own arrangements. Reb Beach sings many of the Glenn Hughes lead vocal parts (quite well), and finally Whitesnake feels like a real band again. It’s odd that it happened on a Deep Purple cover album, but the band sound like a real band, on album for the first time in ages. Hopefully the injection of passionate young blood in Hoekstra and new bassist Michael Devin will result in new music some day.

The deluxe edition of The Purple Album comes with two bonus tracks and a loaded DVD. “Lady Luck” and “Comin’ Home” from Come Taste the Band are actually two of the best selections. It’s rare that bonus tracks are album highlights, but just because these songs are not as world-renowned as “Burn” does not mean they are not as good. They’re awesome. “Comin’ Home” is very different from the original, having a new and very Whitesnake (circa Slide It In) riff installed.

Japan usually get exclusive bonus tracks and this time it’s a different mix of “Soldier of Fortune”. The reason for the alternate mix (according to the documentary DVD, which we’ll get to) is that David was somewhat torn on which version he liked best. The original concept was a straight acoustic version, with just David’s voice and an acoustic guitar — one guitar, like in Deep Purple. That version didn’t make the album. In a last minute decision, David chose to record bass and other embellishments, and that is what you hear on the standard album. The lucky fans in Japan (or those who wish to shell out for an import!) get the original concept as a bonus track. Delightful.

The bonus DVD is a nice treat, for the 30-minute “Behind the Scenes” feature. It’s great to see the band get so much face time, talking about their love of Deep Purple. Things like this aid in your appreciation of the final album. Observations: Reb Beach does a hilarious Coverdale impression. Tommy Aldridge is still an unstoppable beast of a drummer, even today. Indeed, the new Whitesnake lineup comes across as an inspired band. It is a brand new era for Whitesnake, according to David. He is happier with their sound than he has been in years.

Then there’s the fluff, the Whitesnake EPK (electronic press kit) which is just a condensed version of the main feature. Added to this are four music videos. It’s almost amusing that Whitesnake made music videos today, but again the band get a lot of face time and that’s cool. In the music videos, it really seems like Whitesnake are a band regardless of the lineup changes. The videos are glossy, a little cheesy, but a nice little add-on.

The original rating for this album was going to be 3/5 stars. Cover albums just can’t be judged by the same yardstick as an album of original material. Having seen and heard how much passion and work Whitesnake put into The Purple Album, I’ve grown to appreciate it more. Therefore:

3.5/5 stars

REVIEW: Bon Jovi – New Jersey (Super Deluxe, part 2)

Concluding an in-depth review of the Bon Jovi New Jersey Super Deluxe edition. Previous reading:

BON JOVI – New Jersey (2014 Universal Super Deluxe edition, part 2)

Of all the Bon Jovi albums, New Jersey certainly deserved the Super Deluxe treatment.  New Jersey‘s promotional cycle included two VHS releases, both present on this DVD: The old Wayne Isham tour documentary Access All Area, and New Jersey: The Videos.  Isham was responsible for virtually every cool larger-than-life video Bon Jovi made.  In 1988, trendy grainy black and white footage was all the rage, and so Access All Areas, where we will begin, has an over-abundance of it.

In a piece of incidental pre-show rehearsal footage, Richie Sambora sings “Purple Rain”, proving who the talent in the band always was.  It is nice though to see everybody in the band hanging out, having a good time, and seeming like genuine friends.  As for the audience, it’s amusing to see the giant hair from the perspective of today.

The sound of “Bang” by Russian metal band Gorky Park indicates we’re off to the Soviet Union.  Bon Jovi were pioneering in being one of the only hard rock bands to play behind the Iron Curtain (they were officially sanctioned by the government), and this part of the show is certainly the most interesting.  Bon Jovi even have a ten-man blues jam with the Russian band, building bridges at the end of the Cold War.  The blues is universal.  This visit leads to the massive Moscow Music Peace Festival, which I had on tape from MTV, and wore completely out.  (Not shown: the backstage moment when Tommy Lee rips the shirt off Bon Jovi manager Doc McGhee’s back, for allegedly upstaging Motley Crue by using fireworks in Bon Jovi’s show, against prior agreement.  It’s a long he-said she-said story involving McGhee who was managing both Motley and Bon Jovi at the time.  Motley felt McGhee had prioritized Bon Jovi, and fired him immediately after.)

The boys have a blast in the warmth of Rio de Janeiro, quite a contrast with snowy Moscow.   In Tokyo they are chased by a swarm of screaming girls.  Through it all, even though they’ve been on the road forever and can’t wait to get home, they maintain themselves with a lot of joking around.  Fortunately Isham captured this endearing footage.  The live rehearsal stuff is also excellent, up close and in the faces of the band.

In a very cool moment backstage at Wembley, Bon Jovi, Cinderella and the Scorpions work on covers together for a big jam.  “Travelling Band”…holy shit, is that Elton John on piano?  Sure looks like it.  Rick Allen, Brian May, Lita Ford!  “I am the happiest kid on Earth!” shouts an excited David Bryan.  Another gig features Bon Jovi with the late comedian Sam Kinison on “Wild Thing”.  At Tower Records, they are threatened with arrest by the riot squad if they perform, so naturally Jon and Richie break out the acoustics and do “Ride Cowboy Ride”.  In swoop the fuzz, who had nothing to worry about.  Alec John Such’s birthday is celebrated in West Berlin, where they visit the wall.  (In a shivery moment, Jon is eyeballed by an East German soldier on the other side.)  Their cover of “The Boys Are Back in Town” is performed, and Jon takes a chip out of the wall.

Jimmy Page is present at a three hour charity gig at Hammersmith, and they jam on “Train Kept a Rolling”.  (Best moment: when Jon sings a Steven Tyler “wha-ga-ga-ga” in it near the end, just like Tyler did in Aerosmith’s version.)  It’s clear that even then Jon was the boss — he alone makes the setlist, and says if something goes wrong he’ll call the shots.  He comments he has “never been so nervous.”  Bad Company’s “Shooting Star” is a duet with Richie Sambora, who had been playing it long before Bon Jovi formed.  It’s a stunning version and it’s hard to imagine Bon Jovi ever doing anything this big again, both in terms of success and quality.

Australia!  “Bon Jovi: We go everywhere, but we live nowhere!” says Sambora.  “Love For Sale” is played at HMV for swarms of long-hairs both male and female (but mostly female).  Sam Cooke’s “Having a Party” is another incredible cover selection, and you have to give Jon credit for that.  The final show is a big multi-gig stand in Guadalajara, Mexico that almost never happened due to “politics” (money) and a riot!  The first gig is postponed to the next day forcing Bon Jovi to play a double-header starting at 11 am!  “We should go on stage in riot gear,” jokes (?) Jon.  (They don’t.)

Access All Areas was a good rock doc for the time.  It feels whitewashed and scrubbed clean of blemishes, but that was music in general in the late 80’s.  The real pleasure is getting to see the other band members hanging out.  Alec John Such seems a funny, talented guy with a great voice.  David Bryan is clearly a lot more gifted than he gets to show off in the band.

The music videos (only mixed in stereo, unfortunately) are all you remember them to be: more mixtures of black & white, and colour footage, golly!  Both versions of “Bad Medicine” are included.  (More Sam Kinison!)  There are funny interludes with the band in between the songs, joking around back stage.  (Special guest: Skip Rope Skid Row’s Dave “Snake” Sabo.)  “Me, if I wasn’t a musician, I’d be a drummer!” says Jon. Of the music videos, “I’ll Be There For You” and “Lay Your Hands On Me” are the coolest, just no-nonsense stage performance clips.  “Blood on Blood”, which I’d never seen before, is a live version.

The DVD portion of this box set is a nice supplement, but you won’t be in a hurry to sit down and watch again.  The black & white/colour back and forth is very tiring.  Fortunately Bon Jovi seem(ed) like a nice bunch of guys from the neighborhood that have loads of talent, and fun to watch in any setting.

DVD: 3/5 stars
Bonus tracks: 4.5/5 stars
Album: 4.5/5 stars

Overall rating:  4/5 stars

Thanks for joining us for this massive review! Back to something else tomorrow.

DVD REVIEW: Black Sabbath – Children of the Sea – Live in Brazil ’94

Scan_20150927BLACK SABBATH – Children of the Sea – Live in Brazil ’94 (Disc Media)

The Cross Purposes tour was not a happy time in Black Sabbath.  Geezer Butler had felt that this band (featuring himself, Tony Iommi, Tony Martin, and new drummer Bobby Rondinelli) should have had a new name and not been billed as Black Sabbath.  Rondinelli left mid-tour, so Tony and Geezer called up the original Sabbath skinsman Bill Ward.  With this historic lineup, 3/4 of the original band were intact (the same ratio as today’s Sabbath).  They went to South America to play five shows.  Then Butler quit after a furious standoff with Iommi.

This broadcast footage is all that remains of this very short-lived lineup of Black Sabbath.

The set opens with “Time Machine”, a Dio-era song that neither Tony Martin nor Bill Ward originally appeared on.  The sound is pretty horrendous, coming in slightly better than bootleg quality.  The crowd noise is too high, and the backing keyboards of Geoff Nicholls actually drown out the lead guitar.  Nicholls’ backing vocals are also more audible than they should be.  As a frontman, Martin does his best, which involves spreading his arms wide and shaking his hair.  A long haired Ward has a completely different rhythm on this track than Vinnie Appice gave it.  Another Dio number is next, “Children of the Sea”.  Ward at least played on this Heaven and Hell classic.  Haters would be critical of Martin’s version of Dio songs, but Dio quit. Ozzy wasn’t ready to come back.  Iommi carried on, and that’s how it went down.  Martin had to sing the old songs to the best of his talents and he helped keep the ship afloat during these difficult years.  Having Bill Ward on this track lends it a required authenticity.

There are certain songs that Sabbath has never dropped from the set, that are very difficult for most singers to perform.  “Black Sabbath” is top of the list.  Ozzy’s possessed original can never be duplicated or imitated.  A big part of that, however, is that Bill Ward’s primitive drum fills were such a big part of it, and Bill’s back on this one.  With 3/4 of the original Sabbath there, this version actually works out.  It’s one of the most true to the original of the versions released by any post-Ozzy lineup of Black Sabbath…except it is edited!  It halts abruptly at the half-way point, to awkwardly go into “War Pigs”.  This concert was clearly cut down to fit into a one hour (with commercials) time slot.  Why half of “Black Sabbath” was sacrificed instead of something else, I don’t know.  Shoddy.  At least “War Pigs” is intact, with Bill (shirtless now) providing the loose backbone it always had on album.  It acquires a jazzy feel during the slow outro.

Iommi gets a guitar solo (could have edited this out instead of “Black Sabbath”, but what do I know?) which has shades of “Too Late” from Dehumanizer.  Then it’s “Paranoid”, with Bill behind the beat as it should be.  Martin bites into every word, doing a fantastic job of it.  I have several live versions of Martin doing “Paranoid”, but this one is the best and most true.

When it’s time for “Headless Cross”, the rhythm section are not the ones who recorded it (Lawrence Cottle on bass and Cozy Powell on drums).  It’s weird to think of Bill Ward playing drum parts that Cozy Powell wrote.  Geezer sounds more at home, and is able too bring his trademark slink to the bass.  Offstage, Geoff Nicholls quite obviously provides the high notes in the chorus that Tony Martin can no longer hit, whether by voice or sample I do not know.  There’s another awkward edit into “Iron Man”, a song most singers except Ozzy struggle with.  This could have been excised.  We finally blast into “Sabbath Bloody Sabbath”: better, even though nobody can hit the unholy notes that Ozzy did on the studio version.

That’s the last track..  The back cover claims that “The Hand that Rocks the Cradle” is next, but there is no such track.  Bastards!  To compound the error, they got the song title wrong by just having “The Hand that Rocks”.  Not that this is the only mistake on the track list.   “Babbath Bloody Sabbath” is pretty funny, especially since this title carried over to the song menu on the DVD!

SABBATH COTS

Wardrobe wise, I like Geezer’s sweater with the crosses on it; that’s nice.  Tony Martin has a cool, steel plated leather jacket, which looks as if raided from Rob Halford’s closet.  Iommi sports silver cross center-chest, while Bill Ward is right out of 1975 with the long hair and track pants.

There are issues with the audio sync on this DVD, probably originating from the broadcast but carried over even though it would be easily fixed.  Sloppy release.  I’m sure that this is ripped from a VHS recording of the broadcast, due to the obvious spots where commercial breaks are edited out.

Maybe the original uncut tapes are out there somewhere. If so, somebody should release them.  This concert could have been a great little DVD release, but the various audio and editing flaws make it a difficult viewing.

2/5 stars

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DVD REVIEW: AC/DC – No Bull: The Director’s Cut (1996)


Scan_20150926AC/DC – No Bull: The Director’s Cut (originally 1996, DVD 2008 Sony)

The Plaza de Toro in Madrid is an incredible looking venue.  “Nice place you got here!” understates Brian Johnson.  To film a concert video here seems an easy decision.  A crane and giant wrecking ball dominate the scene.  The ball swings and bowls over the backdrop!  Enter:  Angus Young!

“Back in Black”* is a natural opener:  Everybody knows it, and the groove is impossible to ignore. Johnson’s voice is ragged and weak compared to the old days, although I think Brian sounds better in general today.  A pre-crystal meth Phil Rudd dons spectacles, and hammers out the beat that, truthfully, he invented and does best.  Having Phil back for that period of the band was a coup.  It’s back to the Bon Scott years then, with “Shot Down in Flames”.  Now Brian sounds more in his element, somehow seeming more in control on a Bon song.  As if it took them one song to warm up, everything feels in gear now.  Then, “Thunderstruck” is an interesting take, because Phil didn’t play this song before.  Chris Slade was in the band at that time, and Phil doesn’t even try to imitate his style.  He plays “Thunderstruck” his own way, which is fine.  There’s a live version, with Slade, on AC/DC Live.  With Phil on the kit, “Thunderstruck” is no longer filled with nervous energy, but is more in the pocket.  It’s an interesting evolution.  Contrast this with any live video of the current lineup playing the song with Slade today.

“Girls Got Rhythm” is an easy classic, which warms the crowd up with a newbie:  “Hard as a Rock”*, the single from Ballbreaker.  All but instantly, it sounds like a familiar classic.  This is high quality rock, with Johnson’s voice in full shred.  Colourful lights illuminate the stage, but only Brian and Angus are really mobile.  Cliff Williams and Malcolm Young rock steadily, sticking to their respective sides, and stepping up to the mic for the big chorus.  The crowd goes nuts when Angus himself speaks.  The stage is huge, but Brian Johnson runs across every inch, interacting with the massive crowd as a veteran frontman can.  Then AC/DC knock ’em down (down down) easily on “Shoot to Thrill”.  There is a rock and roll purity to this show:  A bunch of guys in jeans (Angus excepted), playing hard rock and roll, but contrasted with that is the massive stage.  AC/DC can do it because people love the personalities of the band.  Angus doesn’t miss a note, no matter where he’s running off to next.

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Phil smokes a cigarette during the blues number “Boogie Man”. Starting sluggishly, “Boogie Man” nails it as soon as Brian gets screaming.  I’m sure AC/DC can play this kind of thing in their sleep!  Angus has an extended solo during which he gets the crowd riled up and ready with his strip-tease moment.  When he finally drops his drawers, his undies have the Spanish flag on them.  Madrid eats every bit of it up.  AC/DC clustered a bunch of new songs close to each other at this point, and “Hail Caesar”** is next.  It’s time for a heavy prowler, and Caesar brings it on.

When the bell tolls, you know what’s happening. “Hell’s Bells”!  Songs like this, “Dog Eat Dog”** and “The Jack” require no commentary.  The sight of Johnson descending from a giant iron bell is pretty cool.

Last newbie of the night is “Ballbreaker”* itself, a blast of “shut the fuck up and listen t0 this” right in the face.  This time, Brian is swinging from the wrecking ball, singing the whole time, kicking his feet in the air.  AC/DC have crushed it…but there’s still lots more to go.  “Rock and Roll Ain’t Noise Pollution”, “Dirty Deeds”, “You Shook Me All Night Long”**, “Rosie”*, “T.N.T.”…it’s all a good time, and you know them all.  The only real critique is there is a gap in the setlist, with no songs from 1983-1988 appearing anywhere.

“Let There Be Rock” is, as usual, extended to epic length with Angus’ brilliant solo.  First of all, it’s incredible that Angus still has this much energy after playing and stomping through a show this long.  What’s really amazing is that everybody in the band is fully fueled for this full-speed song.  Malcolm sips from a water bottle — that’s the key, folks.  Hydration.

The cool part here is when Angus departs the stage (band playing on), to re-emerge atop the massive shoulders of a bodyguard and taken to a flying platform in the middle of the crowd!  Many thrills later, Brian says goodnight, but you know he’s teasing.  “Highway to Hell” commences with explosions, flames and Angus’ devil horns.  And then, finally,the cannons”  “For Those About to Rock” is the salute to Madrid , who witnessed an absolutely incredible AC/DC concert.

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The DVD bonus features are cool, as you should expect.  The “Angus Cam” versions of four songs is plenty fun, by focusing solely on Angus in the edit.  It’s quite incredible to just watch the man play, because it seems as if he is entranced, on auto-pilot, but totally in command.  If there wasn’t a guitar around his neck you might think he’s having a seizure!  Then come the moments when he looks the crowd in the eye, and the playing only gets more intense!  Like I said: this is plenty fun.

Then we have two bonus tracks not included in the Madrid set:  “Cover You in Oil” (Sweden) and “Down Payment Blues” (Florida).   “Cover You in Oil” is raw and sweaty.  I don’t think the song is particularly strong, sounding a bit like a Blow Up Your Video outtake.  Still, it’s always nice to get another new song on the DVD, since it’s doubtful a track like this will ever re-enter the setlists.  The stupid music video footage that is edited into the tracks is annoying, however.  Instead of watching Angus take a solo live, I’m watching him doing it in a music video.  Bad editing decision.  I like how Brian introduces “Down Payment Blues”:  “This is from one of the albums…back in the 70’s…”  Shit, he doesn’t know, he wasn’t there!  But he gets the job done anyhow.  And guess what?  Brian Johnson is wearing the same damn blue shirt and hat at every show!  His snarl adds to this version of the song.

What’s with the “Director’s Cut”?  It seems the original 1996 VHS release (which I never saw) was rushed out for the Christmas season to the dissatisfaction of award winning director David Mallet.  He did a new edit, and new stereo and 5.1 mixes for the DVD release.

4/5 stars

*Indicates this version is available in audio form on the 2 CD edition of Stiff Upper Lip.

**Indicates this version is available in audio form on the deluxe Backtracks box set.

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REVIEW: Deep Purple – Bombay Calling – Bombay Live ’95

BOMBAYDEEP PURPLE – Bombay Calling – Bombay Live ’95 (2003 iTunes)

There are very rare circumstances under which I will pay for a download from iTunes.  I’ve made my case for physical product here over the years many, many times.  When it’s a band that I obsessively collect, like Deep Purple, I make an exception.  Bombay Calling is an interesting live release.  It says “Official Bootleg” right there on the cover art, but I’m not really sure what constitutes an official bootleg anymore.  I look at this as the soundtrack to a DVD that Deep Purple released in 2000, also called Bombay Calling.  That’s essentially what this is — the audio to Bombay Calling, the DVD.  In contains the entire show.

This concert was recorded on April 18 1995, which eagle-eyed fans will realize is well before the Purpendicular album.  Bombay Calling was recorded not long after “the banjo player took a hike” and Purple carried on without Ritchie Blackmore.  Joe Satriani stepped in for a short while, but it was Dixie Dregs guitar maestro Steve Morse that took the Man in Black’s place permanently.  This concert was recorded at the very start of Morse’s tenure, and features a few songs they would drop from the set a year or two later.  It also features a brand new tune they were working on called “Perpendicular Waltz”, later changed to “The Purpendicular Waltz” on the album.

There is one earlier concert available from this period, which is Purple Sunshine in Ft. Lauderdale Florida, exactly two weeks prior.  That one is truly is an official bootleg, taken from audience sources and released on the 12 CD box set Collector’s Edition: The Bootleg Series 1984-2000.  The setlists are slightly different.  When they hit India for this concert, a new song called “Ken the Mechanic” (retitled “Ted the Mechanic”) was dropped, as was “Anyone’s Daughter”.  They were replaced by long time favourites “Maybe I’m a Leo” and “Space Truckin'” from Machine Head.

Special treats for the ears on Bombay Calling include Steve Morse’s incendiary soloing on “Anya” (which would be dropped from the set in 1996).  His feature solo leading into “Lazy” is also excellent, and of course very different from what Ritchie used to do.  Jon Lord’s keyboard solo is among the best I’ve heard, and even features a segue into “Soldier of Fortune” from Stormbringer.  The solo segments that Deep Purple did often allowed them to play snippets from songs from the David Coverdale period of the band, and this one was unexpected and brilliant.

I love a good, raw live performance captured on tape, and Deep Purple don’t muck around.  This one is kind of special, coming from that transitional period when Steve Morse was just getting his feet wet.  Considering how different he is from Ritchie Blackmore, this smooth switcheroo is quite remarkable.  The band had changed, but into something just as good.  How many other groups can make that claim?

3.5/5 stars

Since you can’t take a picture of a non-physical product, here are pictures of the 2 CD set that I burned from the iTunes download!

DVD REVIEW: Helix – S.E.X. Rated (2000)


SEX RATED

HELIX – S.E.X. Rated (2000 EMI DVD – NTSC and PAL)

Every good Canadian that was alive and rocking in the mid-80’s remembers the music video: The dudes are breaking rocks in the quarry, in chains. Then the singer stands up and yells, “Gimme an R! O! C! K! Whatcha got? Rock! And whatcha gonna do? Rock you!” And then, freedom!  It’s just one of those great 80’s rock music videos, and it’s only one of many on this DVD. Here, you get ’em all from the Capitol years.

The videos are not in chronological order, which would be my preferred arrangement.  The DVD commences with the award winning “Running Wild in the 21st Century” featuring Snake the Tattooed Man from London Ontario.  The older classics range from edgy to campy, but are always cool in their own way.  My preference is towards the live on stage type of video, like the exciting “Wild in the Streets”.  On the other hand, “The Kids are all Shakin'” is undeniably fun, with Brian Vollmer playing multiple characters from an old man to a radio DJ.  You can’t help but chuckle in your beer.

There are also a handful of rarities here, including the “topless” version of “Gimme Gimme Good Lovin'” that you definitely won’t see on MuchMusic. “Don’t Get Mad Get Even” was only played on Much, like, twice. So it’s pretty rare too. What’s missing is the alternate version of “Wild In The Street” that I have somewhere on a VHS tape, and any sort of special extras like interviews. Also, I have to say that I wish the video for “That Day Is Gonna Come” was on here. It is my all time favourite Helix video but it wasn’t on Capitol. It was on Aquarius.

[I have a buddy, Rob, who used to work for Rogers TV.  He told me that he had seen and knew where the tape was for the original “Heavy Metal Love” video.  They did an early version of it in T-shirts and jeans, before they changed their image to black leather.  Rob offered to copy it for me but I didn’t believe him so I said no!]

Great little DVD.  Extra interviews would have been awesome. However a lot of that stuff is available on other Helix DVDs. (Check ’em out.)  S.E.X. Rated has one last bonus going for it — it is encoded for NTSC on one side, and PAL on the other.  No matter where you are, you can buy it and enjoy the classic videos of 80’s Helix.

4/5 stars

How fucking cool does Brent Doerner look in every single video?

#378: “Kick it Kevin, do something Kevin!”

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RECORD STORE TALES MkII: Getting More Tale
#378: “Kick it Kevin, do something Kevin!”*

If you’re like me, then you absolutely hate it when a piece of your valued technology goes on the fritz.  It happens frequently enough.  Something stops working, and you try to get it functioning again.  For men at least, our first reaction is usually to give the malfunctioning piece of tech a good whack.  You might give it a swift kick, cross fingers, and sometimes that’s all it takes!  Kick it, and it’s suddenly back to life.  A loose connection, perhaps.  Or maybe there’s something mystical about the art of kicking something to make it work again.  Whatever the case may be, fixing one of our modern tech items by ourselves is becoming increasingly more difficult today.  Certainly, a kick rarely works anymore.  All of us will have to replace at least one tech item in our households this year.  Be it your audio device, stereo component, TV, gaming system, computer, or even just your microwave, everything we buy today has a built-in short-term lifespan.

When I was working at the Record Store, it seemed that at least two of our seven CD players were always broken at all times.  When the main store player broke, we’d swap it out with one of the customer listening station players.  Disc players don’t seem durable anymore.  Yet somehow I still own my mom’s original 5 disc CD changer from 1991 (a Sony about the size of a battleship), and it’s the most reliable player in my home.  It’s probably also the oldest piece of tech in the house.  That old Sony keeps on ticking, no kicking required.  Every once in a while it needs a good cleaning, but then it’s good to go once more.

Here’s another interesting fact about my Sony.  It’ll play anything.  Be it a DualDisc or an old cheap Canadian independent CD from the early 90’s, it can play it.  Neither my PC nor laptop will play those things without an annoying amount of artificial digital noise.  My 24 year old Sony will.

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That one CD player aside, everything else here seems to constantly be on the verge of collapse!  I had to buy a new blu-ray player last spring.  The old one refused to boot up anymore.  The original wasn’t a cheap player: I paid almost $500 for it, in 2010!  I was beyond upset when I had to replace it (with a $120 Samsung from Walmart) but the new player has all sorts of bells and whistles built in that the old one didn’t!  The ability to play Netflix, Youtube, or video files off a flash drive were all new to me when I bought it; the old player couldn’t do those things.  (I almost feel like I should have waited before making the switch to Blu.)

More than just the Blu-ray player, everything else here busts eventually.  Both Jen and I have owned Hipstreet brand mp3 players that broke within mere weeks.  I had to replace my car stereo two years ago (I drive a 2010).  Speaking of car stereos, two weekss ago my left door side speaker started cutting in and out!  The following week, it died altogether.  I gave it several good solid boot kicks, but it did not help and I had to have it fixed to the tune of $200.  A similar problem happened in my old Plymouth Sundance.  The left door speaker blew but the car was on its last legs and it wasn’t worth spending money on.  T-Rev came over one night to help me pry the door panel off; we were hoping it was just a wire that came loose.  We never figured it out, but we did damage the door panel in the process.  I never want to pry off another door panel.

Let’s not even talk about computers!  I’ve had to replace more power supplies, fans, cards, routers, monitors…hell, just last week, one of the ethernet ports on my router died.  No idea why, it’s just one of those things that happens, isn’t it?  The nice thing though, about being forced to replace something like that, is that you are almost certain to be upgrading every time.  Since the technology becomes fancier over the years, if you blow a hard drive you’ll most likely be replacing it with a bigger and faster one.

Faster, sleeker, tricked out…technology keeps getting more exciting, but more disposable.  When I was a kid, it didn’t seem that way.  Each family had a VCR…that was their VCR.  They didn’t go and buy a new and better one every two years.  Each kid had a ghetto blaster.  That was their ghetto blaster…it was expected to last many years.  If it broke, you fixed it or got it fixed.  That’s how it went.  Today, we go buy a new one, and pay a recyling fee to throw out the old.  Seems to me like it’s not the technology that’s broken, it’s this disposable culture we live in.

* The title refers to an on-stage meltdown by the band Extreme last year. Their own technology went sour and they were having sound issues all night. Nuno walked off stage…Pat walked off stage…leaving singer Gary Cherone and drummer Kevin Figueiredo up there trying to play “Get the Funk Out” by themselves. After Cherone begging “Kick it Kevin, do something Kevin!” the drummer too left the stage, leaving everyone in puzzlement.

REVIEW: Judas Priest – Metalogy (2004 box set)

Would you care for an Epic Review with your morning tea?

JUDAS PRIEST – Metalogy (2004 Sony 4CD/1DVD limited edition box set)

Q: Who would release a box set dressed up in faux-leather and studs?
A: Who else? PRIEST!

This five disc set (4 CD/1 DVD) compiles a generous sampling of Judas Priest’s music over the decades, from Rocka Rolla (1974) to Demolition (2002). While the tracklist is far from perfect in my eyes (where’s “Rocka Rolla”, “One For the Road”, the studio version of “Victim Of Changes”, “The Ripper”, etc?) it does provide some previously unreleased live versions (both B-sides and never-before-released) and a completely unreleased demo. It’s not a bad set. Just not the one I would have made personally given the opportunity.*

IMG_20150301_071946With insanely great fortune, I got this box set (a limited edition by the way; reissues lack the DVD) in mint condition but used at my own store! One of my favourite sellers, a customer named Conrad sold it to me only a short time after release.  I don’t know why and I don’t care.  I was just glad to have it affordably.  I loved the packaging and there was that unreleased demo that I was eager to finally hear.    Also, Metalogy was the first anthology style box set from Priest and I wanted to hear how it played out.

The unreleased song is the awesome hard rock track “Heart of a Lion”, demoed for Turbo back in ’85. You may have heard this one in re-recorded form on Halford’s live album Insurrection. It was also recorded back in the 80’s by a young band called Racer X, starring Paul Gilbert (Mr. Big) on guitar, and a drummer by the name of Scott Travis! It was a surprise to me that “Heart of a Lion” was not released on the Priest Re-masters series; obviously they were deviously saving it for something later, like this box set.

Some of the live versions are exclusive to this set. Two newly released versions included a 1981 radio broadcast of “Green Manalishi” (unfortunately, meaning the studio track isn’t on here). There is also an unreleased broadcast version of “Love Bites” from ’86.  In addition to these, there are a few live tracks taken from old single B-sides. Unfortunately I already have all Priest’s B-sides, on a Japanese compilation called Priest Live & Rare.

The biggest weakness with this box set is that it tragically loses steam right at the end. In 2002 when the last original Priest music had been recorded, Rob Halford had yet to rejoin the band and Ripper Owens was still the current singer. The box ends with four Ripper tunes, and not necessarily the best ones. “Jugulator” is an undeniable inclusion, but there is a feeling of anticlimax. Leaving an exciting and unheard track like “Heart of a Lion” for last would have ended set on an up note.  (Perhaps Priest could have included some Ripper-era rarities to add some value and excitement — there were a few songs available.)

METALOGY_0002Judas Priest Live (DVD)

The limited edition DVD, cleverly called Judas Priest Live, has since been released on its own. This is the old Judas Priest Live video, also known as Live Vengeance ’82, from the Screaming for Vengeance tour (Memphis Tennessee).  It’s one of those music videos that you probably remember seeing back in the day. It’s quintessential early 80’s live Priest — all black leather and shiny studs. The setlist leans heavily on Screaming and British Steel, with classics throughout.  The stage is pretty bare, just some girders and a Screaming for Vengeance flag in behind.

This concert has been remixed for DVD, in both stereo and 5.1 surround.  I have read some complaints from fans that guitar overdubs were added to some tracks.  I listened intently but could not conclude one way or the other that any tampering was done.

A pre-recorded “Hellion” acts as intro music; Priest emerge onstage amidst lasers and smoke to play “Electric Eye”.  Halford is  the caricature of himself, bearing a bullwhip, and looking something like the biker from the Village People.  Nevertheless, a young Rob Halford slowly and deliberately commands the stage, powerful voice cracking but getting the job done.  Tipton and Downing are on the flanks, tearing into “Riding on the Wind” next.  The pulse of Ian Hill and Dave Holland, plain is it may be, is metronomically precise.  The video is shot and edited to my taste; lots of closeups although the light flaring is distracting.  (J.J. Abrams did not direct the video though!)  KK Downing makes some of the best “guitar faces” this side of Nigel Tufnel.

“Heading Out to the Highway” brings the speed down from the breakneck pace.  This mid-tempo classic has long been a favourite, although at the time it was only a year old!  Three songs in, and Priest had not yet played anything from British Steel or before!  The confidence in their new material is refreshing.  Rob treats us to some hilarious dancing, but I admit I’d kill for a leather vest like that, with the bird from Screaming emblazoned on the back!  Fear not though, as “Metal Gods”, a British Steel classic, is next.  Rob’s robot dance gets my nod for “favourite moment of the concert”.

Back to new songs, the sharp guitars and robotic pulse of “Bloodstone” gets fists pumping in the air.  The cameras are not wasted on audience shots (I’d rather see the band), but you can see the crowd digging the new material as much as the old.  They really like “Breaking the Law” though, which has a blazing intensity.  Then it’s back to the stone ages:  KK Downing’s guitar showcase “Sinner”.  This killer song loses something with Holland on drums, but it’s more about KK anyway.  His solo is resplendent, but Rob nails the screams!  “Desert Plains” is faster than the Point of Entry version but more powerful.  This is one that Dave Holland is well suited to, and the Hill/Holland pulse is fully apparent.

IMG_20150228_184258Here’s something you don’t hear at Judas Priest concerts anymore: Rob screaming at the crowd, “Are you high?  Sing yeah!”  As a kid, I naively assumed Rob meant high on the music, the adrenaline of the concert, and I’m sure that’s the answer he’d give to the press if asked about it. As a cynical adult, I’m sure he meant “Are you high?” as in “Are you high?”!

All the way back to Sad Wings, “a little Victorian melodrama for you,” it’s “The Ripper”!  Some stage bombs help out with the drama, and Rob sinks his teeth into the words. It’s an absolutely metal-perfect ode to Jack himself.   “Diamonds and Rust” is an unexpected treat, as glimmery as it was on Sin After Sin.

Rob takes a moment to tell the crowd that there are cameras all over the place because they’re making the very first “Judas Priest movie”, and possible live album.  Still waiting on that live album today, Rob!  Back to the new album, it’s “Devil’s Child”, which Rob imbues with a strange monotone during the verses.  This exact version was released as a bonus track on the remastered Screaming For Vengeance.  As such it’s familiar to me and I enjoy the vocal twist.  “Screaming for Vengeance” continues the onslaught of new songs, concluded by the chugging fan favourite “You’ve Got Another Thing Comin'”.

Closing the set with “Victim of Changes” is a suitably dramatic end.  “Victim” is spot-on, and Rob is as animated as he gets.  Headbanging away, Downing and Tipton are at his sides, while Ian Hill stands bolted to the stage, swaying his bass back and forth hidden behind a cloud of smoke!  This brilliant version has all the twists and turns you expect, and that end scream is so satisfying even if Rob misses the note by several notches.

“The Green Manalishi” rears its leather-studded head in the encores, but not before the big hit, “Living After Midnight”.  And let’s not forgot Rob’s boring “Oh yeah!” chant-along.  Thankfully this version of “Green Manalishi” is a killer (as is the 1981 live version on CD 1 of this box set).  “What you sayin’ Memphis?” screams Rob, before KK and Glenn dig in to their trademark solos.  “Green Manalishi” remains to this day an example of a song improved as a cover version, with all due respect to Peter Green.

It ain’t over ’til the bike comes out, and it does on “Hell Bent for Leather”.  Rob sits reclined on his Harley, bullwhip back in hand, commanding the masses.  After dozens of power chords and crashed cymbals, it’s finally over — 95 minutes of Judas Priest fury, at the height of their 1980’s power.  Not bad for a little bonus DVD (video quality issues aside), and worth picking up separately if you feel so inclined.

In closing

Review the track list yourself, see what you have and what you want, amd buy accordingly. I can tell you that this set was worth it for me for “Heart of a Lion” and the unreleased live material.  The DVD was gravy.

4/5 stars

* foreshadowing!

REVIEW: Whitesnake – Live in ’84 – Back to the Bone (DVD/CD)

It’s Purple Week at mikeladano.com!  It’s all Deep Purple and Deep Purple alumni, all week.  This is Part 4…and once again we’re going Epic Review Time.  It’s Deep Purple Mk III’s lead throat, David Coverdale & Whitesnake!  This is almost a new release; it’s about four months old.

Part 1:  Shades of Deep Purple
Part 2:  The Book of Taliesyn
Part 3:  Perfect Strangers

WHITESNAKE – Live in ’84 – Back to the Bone (2014 Frontiers Deluxe edition DVD/CD)

David Coverdale has been pretty good to the fans, in terms of giving them live archival releases from the periods they care about.  In addition to cranking out studio and live releases with the current Whitesnake lineup, David has issued deluxe editions of certain albums along with the long awaited 3 disc set Live at Donnington 1990. Now it’s the 30th anniversary of the Slide It In album, so David has issued a live retrospective set from that period too.  A CD and DVD set documenting the John Sykes years is almost a guaranteed slam dunk in itself, but how does it stack up when we break it down?  Let us take a look at the DVD and CD portions in detail.

Super-Rock Japan ’84

The main program of the release is on the DVD, and the main focus of the DVD is Super-Rock Japan ’84.  It is an 11 song set taken from Japanese television.  This is the legendary four-piece lineup: David Coverdale, John Sykes, Cozy Powell, and Neil Murray.  There is no doubt that even though the band had been trimmed down, they sounded powerful.  I just really hate when an interview is inserted right between the first and second song.  There’s no reason to ever interrupt a song on a live video, but editors do it all the time!  It’s interesting seeing Whitesnake in a single-guitar lineup, but there is obviously a backstage keyboard player (Richard Bailey).  The chops of John Sykes are such a welcome addition to the Whitesnake sound.  He has a “chug” that few other guitar players have.  Cozy Powell is as on-point as ever, but David Coverdale’s young lungs are remarkable.  At peak power, David prowls the stage and humps the microphone in complete control.

The highlight of this portion of the set is “Crying in the Rain”, almost but not quite like it would be performed on Whitesnake 1987.  I also enjoyed Sykes’ guitar solo.  Sykes makes some of the best guitar faces in rock, and he resembles a young David St. Hubbins with his shaggy mane.  “Soldier of Fortune” (an abridged version) was a pleasant surprise.  On the other hand, Cozy’s looong overblown drum solo would be more appropriate to his time in E.L.P. (Emerson Lake & Powell).  David must have been taking care of business backstage.

The video quality here is very good for an 80’s television broadcast.  Sound quality, also good.  David states in the liner notes that they weren’t able to find the master audio tapes, so this hasn’t been touched up too much.  I’m satisfied; in 1984 we didn’t have 1080p TVs in widescreen.

Only three songs from this were included on the CD: “Love Ain’t No Stranger”, “Ready An’ Willing”, and “Slow An’ Easy”.  That’s too bad.  I would have paid a little more to get a 3 disc version with a full CD of this show.  Just sayin’.

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Jon Lord’s Final Whitesnake Performance

The passing of Jon Lord has been the biggest loss in rock, in recent memory.  This truly is a treasure.  From Swedish television and shot with multiple cameras, this looks even better than the Japan footage.  Shame it’s only four songs.  To have Jon there raises the bar several notches.  It’s a five-piece lineup, although the cameras spend so little time on Jon that you’d wonder if the keyboardist is offstage again!  (Jon’s wearing a white shirt in a black-topped band; he should be easy to spot but he’s not.)  “Gambler” goes directly into “Guilty of Love”, and it’s so strange to hear it with only one guitar.  With guys like Sykes and Powell in the band, they are very active on stage and the energy is plentiful.  “Love Ain’t No Stranger” is so much better with Jon than without.  You cannot understate how much difference that big bad Hammon organ makes.  Then David tells the audience that they are “Ready An’ Willing” for some sweet satisfaction!  From this brief four song set, I can at least conclude that Swedish television in the 80’s was better than Canadian television.  Strangely, on the CD, it is included as one solid 16 minute track with no breaks.

Slide It In Slide Show

This is actually a cooler feature than you might think.  These contain some snippets of writing demos for Slide It In.  In some, David’s talking to someone, and there’s a single guitar.  In others there is a full band, but the lyrics are not there yet.  You can hear some of the classic riffs taking shape.  The rest of the audio has vintage interviews with David and live music.  Unfortunately at times the “slideshow” portion of this turns into little more than a lyric video, defeating the purpose of having a photo slideshow.  The real treasure here is a live version of the B-side, “Need Your Love So Bad”, with just David and Jon.  I am disappointed that it is not on the CD.  Something that rare really should be.

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Snakeskin Boots: The Best of the Bootlegs 

The main feature on the CD consists of bootleg and soundboard tapes.  I love bootleg recordings, and who can fault a band for beating the bootleggers and releasing the tapes officially?  Tapes were cleaned up as much as possible to make them listenable (David suggests the car as a good setting).  These songs were sort of arranged in the order of a live concert, so it still begins with “Gambler” and “Guilty of Love” like all the other sections.  “Gambler” sounds pretty good, only slightly muffled but with a hard pulse.  Sykes’ solo on “Guilty of Love” sends electric chills up the spine.  It’s great to hear the band so young and ferocious!

Cheeky David tells the crowd that the Slide It In album title does not refer to a banana!  “Love Ain’t No Stranger” is always a pleasure to hear, especially sung by a young David, and Sykes is shreddin’.  Then another cheeky intro: “I’d like to give you a toast.  If it’s in deep, and if it’s in long, and if it’s in hard…it’s indecent!”  That has to mean “Slow An’ Easy” is up next.  I will never tire of this excellent song.  “Walking in the Shadow of the Blues” is a nice surprise, but “Ready An’ Willing” is overplayed.

Sykes is given a couple minutes on his own to introduce “Crying in the Rain” with some bluesy soloing.  As great as this song is, this long version makes it clear why Whitesnake is a two guitar band.  They sound very bare when John again takes a long solo in the middle, and Neil Murray is left to fill the space.  David always wanted two guitar players, while John would have preferred not to share the spotlight.  “Soldier of Fortune” closes this portion of the CD, a nice version of the old Deep Purple classic.

The rest of the CD is dedicated to the three tunes from Super-Rock Japan that they chose to include, and the four songs from Jon Lord’s final Whitesnake show.  If you have a look at the tracklist you’ll notice that this means there’s a lot of repeat.

In closing

None of Coverdale’s archival releases or deluxe editions have been perfect.  Live in ’84 – Back to the Bone is probably the best of them yet.

4/5 stars

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