Blank discs are so cheap, and musical tastes so fleeting today, that I wonder if anybody but me still has the first mix CD they ever burned?
I’m hoping some of you have, and I’m hoping to hear it about from you too. My first disc was made in early 2001 when we got our first burner. It was made for a very specific purpose.
At the store, there was an informal rule that if you were closing one day and opening the next, it was “OK” to borrow a movie overnight, watch and return it. So if that was true for movies, why not a CD? Why not a dozen? A few nights after having the CD burner installed, I borrowed a bag full of discs and burned this compilation on a Maxell CD-R 650. 74 minutes! Up to 16x certified!
I returned the discs the next day, all albums that I wanted one or two songs from, but not the whole album. Many were soundtracks and tribute albums. I ended up buying The Strokes’ album a few weeks later, an ill-advised purchase that yielded only two or three listens. I don’t have that one anymore. But I still have my mix CD with “Last Nite”!
The Robbie Williams + Queen track is taken from the soundtrack to A Knight’s Tale. I shall maintain the anonymity of the store employee who had the crush on Heath Ledger and inundated us with this soundtrack. The same disc also yielded “I Want to Take You Higher” by Sly and the Family Stone.
Track 3 is an industrial-rock hybrid tune called “Violent New Breed”. I later purchased the Violent New Breed album by Shotgun Messiah. Industrial rock fans will know that Messiah’s original bassist/singer was Tim Tim, aka Tim Sköld of KMFDM, Marilyn Manson, and his eponymous band. I liked the title track enough to later buy the album and the prior one too. Both were keepers.
I’ve been a Goo Goo Dolls fan for a while so I thought I would grab their INXS cover “Don’t Change” from an Ace Ventura soundtrack. Their cover of “Bitch” came from the 1993 No Alternative compilation album.
Apparently I was on a Warrior Soul kick at that time as well. Shame that there isn’t a great Warrior Soul compilation album that suits all my needs. I bought and sold their studio albums. As for Michael Jackson, I later decided to add a single disc compilation to my collection, offsetting my burning of “Billie Jean”.
This being a real odds n’ ends disc, it’s not a spellbinding listen today. It’s fun to remind myself of some oddball tracks that I liked enough to burn but not enough to buy. I’m also amused by the title Mix One, the first of many! And I was even doing cover art back then, too. On the cover is myself dressed up as the alien from Part 148: Navigate the Seas of the Sun!
In 2003, we did a promotion with the Canadian DJ and writer, Alan Cross. We were selling his book, although I couldn’t tell you which one anymore, and he came in to do a meet & greet / book signing deal.
I had no idea who Alan Cross was.
All I know is that I had to run down to Hortons and pick up a large container of coffee and some donuts. And not to be alarmed, because he had a large dog that he was going to be bringing with him. No problem, I liked dogs, and Al King from Encore Records had a large dog that he often brought with him.
Anyway, long story short:
1. The dog was cool, sat there quietly and bothered nobody. I would have assumed the dog was dead if I didn’t know better!
2. Alan was cool to everybody. We had a small turnout, but the people that did come out were obviously huge fans of this guy that I had never heard of. I wasn’t into the radio at the time, but even my most recent ex, Radio Station Girl, had never heard of him either. Her reason for not knowing him was that she knew nothing about music. My excuse was that Cross specialized in alternative music, a genre I tended to loathe for sidelining my beloved heavy metal in the 1990’s.
But regardless, Alan was cool and spent a lot of time with every single person. He had extended conversations and stayed longer than he was booked to stay. So credit where credit’s due: I’ve heard tales of people showing up to do signings and acting like total dicks. Alan was not one of those people. Every single person who spoke to me said how cool he was. Which was nice, since I had no idea who he was! At least I knew he was a nice guy!
I’ve worked with a lot of accountants over the years. I like accountants. I seem to get along with accountants, don’t know why. The coolest accountant I ever worked with was Jonathan. I like to describe Jonathan’s appearance as being a dead ringer for the actor Romany Malco:
Jonathan always made me laugh. Check out this journal entry:
Date: 2004/06/17 14:09
It was really amusing walking into the office today, and seeing Jonathan singing “Lick It Up” by Kiss.
Very un-accountant like behaviour!
Jonathan was good people. He took a pay cut to work with us, because he wanted to do something he was passionate about. He taught all us knuckle-draggers on the store floors about cash flow vs. profit. He helped us out a lot on the financial side, and he was smart. Plus he loved music.
One time when my mom came into the store to visit, I introduced her to Jon. He said to my mom, “You brought up a good son, Mrs. Ladano.”
I used to drive Jonathan home from work once or twice a week, and it was always good to talk to him. He used to give me advice every time. He encouraged me to better myself. He used to call me “Lifer”. He said, “You’re never going to get out of here. You’re going to work here forever.” But he did it to rile me up, to get me looking for work elsewhere, because he knew the CD store was a dead end for me. He had respect for me, when he called me “Lifer” he meant it to motivate me.
I’d talk to him about girls I liked. There was this girl that worked at the Money Mart next door, but I was too shy to walk in and talk to her. So Jonathan did it for me! Witness these journal entries:
Date: 2004/05/21, 10:08
The one girl at the Money Mart next door is really cute, and I see her out there all the time having a smoke. When Jonathan goes out to have a smoke, he talks to her, give her a light, whatever. I mentioned to Jonathan that I thought the one girl was real cute yesterday. Then today, I TOTALLY got busted staring at her through the window! THEN Jonathan went out to chat it up with her, right after I got busted, to tell her all about me, ask her if she wants to go out on a date with me…Jesus Christ!
Date: 2004/05/22, 09:52
Cheap Trick – Authorized Greatest Hits
Alice In Chains – Jar of Flies
KISS tribute – Kiss My Ass
The Goo Goo Dolls – Gutterflower
Rush – Vapor Trails
Nice thing about working the day alone with no bosses around is that you can listen to whatever the hell you want!
I don’t think Money Mart Girl, who I learned from Jonathan is named Jessica, is working today. So I couldn’t say hi to her even if I worked up the guts!
In the end, Jonathan had to split. He had three kids and being an accountant for a CD store wasn’t going to cut it anymore. He took an offer he could not refuse, and bid us farewell.
I’ll always remember good times working with Jonathan, a true character, and the guy who got me thinking about my future.
And make no mistake, Meat wrote every word. No messing around from me. Enjoy!
PET SOUNDS– THE BEACH BOYS (1966)
When The Beatles released Rubber Soul in 1965, Brian Wilson heard something that inspired him to try and make his own masterpiece. The result was Pet Sounds, which saw The Beach Boys discard their typical surf-inspired ditties and create an album that will always be a classic. I remember when I first heard this album I was completely blown away that it was a 1966 album. The overall sound of it is so full and rich, and it’s funny how everyone thinks The Beatles main influence for Sgt. Peppers was drug-related, and I am sure it was, but that classic would never have been without this classic album first. Do yourself a favour and re-discover The Beach Boys by checking this out.
QUEENS OF THE STONE AGE – QUEENS OF THE STONE AGE (1998)
There are a lot of people that think that the QOTSA album Rated R, is the band’s first release. In all reality it is their third release if you count the Kyuss/Queens of the Stone Age EP. However, it is a shame that this album has been somewhat overlooked. I think it is by far their best album. To gauge just how much I got into this album could never be measured. For years, I stated that this album was my favorite album ever with distortion. Now trust me I realize the exaggeration in that statement (I have since relented) but it doesn’t take away how brilliant I believe this album truly is. This is a true collection of groovy rock songs, so much so that QOTSA could have titled this album exactly that. I have not been a fan of the last few QOTSA albums, and frankly I wish they could harness this approach once again. Check out the included track “Avon”. An absolute air-drumming seminar at its finest!!
ROXY & ELSEWHERE – FRANK ZAPPA & THE MOTHERS (1974)
One of the albums previously on this list, Joe Jackson’s Big World, was a live album containing new material. Considering the content of this particular album, that format was never more impressive or more challenging than Zappa’s album Roxy & Elsewhere. From beginning to end, it’s hard to believe the complexity of what was happening onstage during these recordings. From the colourful vocals of Napoleon Murphy Brock, to the guitar-fueled madness of Zappa himself, this is my personal favorite of all of Zappa’s recordings. Songs like “Pygmy Twilite” and “Village of the Sun” are absolute genius. The concert film of these recordings is STILL in limbo for whatever reason. Included is a clip of the song “Montana”, recorded during these sessions but not included on the album itself.
SCENES FROM A MEMORY-METROPOLIS 2 – DREAM THEATER (1999)
I simply couldn’t do a list like this without including Dream Theater. I like heavy music and I like progressive music. This band combines those two qualities perhaps better than any band ever has, and on this album its done to perfection. This is your classic “concept album” and tells an interesting story that needs to be experienced. But the true experience of this album is that it is a piece of song-writing and musical brilliance. If you have seen Rush’s biopic Beyond The Lighted Stage, you might recognize the now-familiar voice of long-time Rush producer Terry Brown (who also produced the vocals on this album). The album sees John Petrucci and Mike Portnoy at their monster best and requires many listens to truly appreciate. I am not a “Rolling Stone” magazine guy myself, but it does say something that in 2012 they named this album as the Number One all-time progressive album, beating out Rush’s 2112and Yes’s Close to The Edge.
THE ACTION IS GO – FU MANCHU (1997)
This album starts off with a bang, it also ends with a bang and actually this album is just one big resounding rhythmic bang. After a few good, but not great albums (in my opinion), new drummer Brant Bjork was brought into Fu Manchu. This would result in one of the greatest “Stoner-Rock” albums of all time. This is literally the perfect driving album. Sometimes you find yourself emulating driving just sitting and listening to it. You can hear a huge Sabbath influence on this album, at least in the sound of the instruments and the driving low end. Sometimes the vocals can leave a bit to be desired, but it is not really singing in the first place. Almost sounds like a dude talkin’ to himself, which adds to the coolness of this album. One of my favorite albums of the 1990’s indeed.
WELCOME TO SKY VALLEY – KYUSS (1994)
Somewhere around early 1995, I walked into a Sunrise Records where Tom (Tom has been mentioned many times in Mike’s blogs) was working. At this point Tom and I only really knew each other from local concerts we would run into each other at. The second I walked in he begged me to check out this Kyuss album on the listening station. I remember the look on his face when I didn’t instantly “get it”. Years later I had to bow to him and thank him for trying to open my eyes earlier. No one knows how to set a mood quite like Kyuss. The last album listed was Brant Bjork’s first album with Fu Manchu. This album is the last Kyuss album featuring Brant Bjork on drums. No coincidence here. This man knows how to wash songs with a subtle intensity. Check out the song “Demon Cleaner” sometime, with Josh Homme singing and see how Queens of the Stone Age were born. This album has been listed as a major influence for many of the heavy metal greats of the day.
WHALE MUSIC – THE RHEOSTATICS (1994)
The Rheostatics are definitely one of my favorite bands of all time, and the artist I have seen live the most in my life. Any band that calls their first album Greatest Hits obviously has a good sense of humour. There really is no album that quite captures “Canadiana” quite like Whale Music. Not to be confused with the later-released official soundtrack of the same name, this album ranges from the sweet to the insane. Take the song “Queer” for example. “Well the screen door is still broken, since you kicked your Kodiaks through it” and “I scored a hat trick on the team that called you a fuckin’ queer”, are lyrics that paint a Canadian portrait of everyday life. I love this album and frequently re-visit it only to find it gets better with age. Notable appearances on this album are Neil Peart on a song called “Guns” and The Barenaked Ladies (credited as The Scarborough Naked Youth Choir). Included here is the amazing opening track. Check it out eh ….
WHITE PEPPER – WEEN (2000)
Simply put, this is my favorite “Pop” album of all time. I am not a Ween fan per se. I cannot say I have actually connected strongly with any of their other albums. But when this album was introduced to me, it grabbed a hold of me and it will never let go. First of all, the sound on this album is absolutely wonderful. Second of all, the melodies on this album (with sprinkles of Ween weirdness of course) are something very reminiscent of The Beatles. I have always tagged this album as their “Beatles tribute”, and it was pointed out to me by a friend that “The White Album? Sgt. Peppers? White Pepper?”. Now I have not read that in fact that is what the name truly means, but I think that is a very good guess. I have played this album for a few musician friends of mine and the result is pretty much the same across the board. White Pepper simply “hooks” you in, it is that simple. Check out the Trey Parker and Matt Stone directed video for “Even If You Don’t” included here.
UNCHAINED – JOHNNY CASH (1996)
I was working at the “Record Store Chain” Ladano blogs about when I was first introduced to this album. It was instantly a revelation of what I do actually like about Country Music, and was the reason I became a fan of the older-style albums of the genre. Not enough can be said about the genius of Rick Rubin. The man who changed the careers of Slayer, The Beastie Boys and the Red Hot Chili Peppers got a hold of Johnny Cash and re-introduced him as the icon he always was. Hiring Tom Petty & the Heartbreakers as the backing band for the second American Recordings Johnny Cash release was a stroke of brilliance. The opening track “Rowboat” sees Cash cover a Beck song and make it his own. “Sea of Heartbreak” is a melodic ass-kicker. Everyone by now knows of the genius cover of Soundgarden’s “Rusty Cage”, so good in fact that for a long period of time Chris Cornell refused to play it live stating “It’s not our song anymore. It’s Johnny’s now”. No album of this genre has ever sounded bigger, if not any genre. A must have album.
VS. – PEARL JAM (1993)
This album had to be included on this list. I understand that everyone looks at Pearl Jam’s first album as this massive crowning achievement, but frankly I didn’t get it then and I really still don’t. Their second album I think is the best album of their career and probably my favorite “Grunge” album ever. Every song on this album is a classic to me and it does seem weird to call an album that was a Number One album on Billboard for five weeks straight “underrated”. But I truly do feel this album gets overlooked and that’s a shame. I find Ten to be kind of boring and redundant to be honest. This album is still fresh to me. I hope when it’s all said and done that this album is what truly defines them.
The art of buying and selling used music mainly hinges on two factors: condition, and re-sell value.
Condition can be subjective. Is it slightly scratched? Heavily scratched? Do those minor marks from wiping the CD count as scratches? Our upper management tried to give us consistent guidelines to follow on condition. The customers didn’t always agree, but we tried to be consistent – not an easy task when you have dozens of buyers!
Value, on the other hand, could get very subjective. For example, let’s say the year is 1996. You went out and bought yourself a brand-spankin’ new copy of Live Through This, by Hole. You paid $23.99 for it at your local store. You played it a couple of times and didn’t like it, and they won’t take it back without the receipt. So, you come to see me with a mint condition copy, only played twice. You’re hoping for good money. You paid $23.99, maybe you’d like to cut your losses and get $10 back?
Well, it never worked that way. We’d never pay that much for a single regularly priced CD for many reasons:
If you paid $23.99 for Live Through This by Hole, you still paid way too much, even in 1996. You could have got it cheaper elsewhere.
We have to make a profit on it too. Whatever we pay, we’d generally have to double it to make a profit, after the overhead of running a store are considered.
What if we already had a couple copies, that have been sitting here for a month or two? Do I really need a third to sit there?
These are all factors that came into play.
The next thing the customer would often say was this:
“I’m not looking for my money back, just another CD. Can I just trade this to you, one for one?”
Well, again, no. There’s no profit in that either. I’m just swapping your disc for my disc and not making a dime on the transaction. Essentially, I’d be doing you a favour and that’s all. And chances are, you’d want to trade it for something better than Live Through This!
One time, while having this very same discussion, I explained to a customer why I couldn’t pay him $10 for his CD. “Because that’s what we sell it for, I wouldn’t be making any money on it.” He shrugged and said, “That’s your problem, not mine.” No, it’s your problem, since I won’t be paying you $10 for your disc.
Another reason that people expected more money for a disc was rarity. If something was considered rare, yes, we would generally pay more. But who decides if something is rare?
I remember a guy holding up a copy of Big Game by White Lion, saying, “This CD is worth over $50!” Well, maybe somebody was asking $50 for it somewhere, and maybe somebody was willing to pay that. So yes, to those two people, it’s worth $50. But if you look, you could definitely find it for under $10, guaranteed. Even in 1996. All you had to do is hunt a little. I did, and I got my copy for under $8. It’s a title that was not in demand.
Some things that WERE considered rare:
The Traveling Wilburys – Volume I. We asked $50 for that one. It was out of print for many years. Out of print Bob Dylan is worth a lot more than out of print White Lion!
Metallica – Garage Days Re-Revisited. Also out of print. We asked $50 for that one too, until it was reissued as a part of Garage Inc. Reissues would usually kill the value of an our of print disc.
Some things that were NOT considered rare:
A lot of old soundtracks. Soundtracks were a tricky thing. You might be the only person in town that gives a crap about the Operation Dumbo Drop soundtrack for example. Maybe it’s out of print, and maybe you collect soundtracks, but maybe I already have a copy priced at $5 that has been sitting there half a decade!
We tried to be as fair as possible, but it’s not always easy to see when I’m giving you $4 for a CD that you paid $24 for. You can’t please all the people all the time. Still, it was better than a garage sale!
Next in line of my reviews from Record Store Excursion 2012! Check out the video below if you missed it. This one bought at Sonic Boom Music at Bloor and Bathurst.
MIKE AND AARON GO TO TORONTO
FOO FIGHTERS – Live In Rio 2001 (2012 IMC Music Ltd.)
This is sort of an oddball release, fully 11 years after the concert itself, on some weird label called Immortal. This is probably taken from the Rock In Rio 2001 broadcast. Bootlegs from that show are pretty common. I have a Guns N’ Roses bootleg from the same concerts. I believe they were on pay-per-view.
I’ve heard some people complain that Dave Grohl screams too much live, and he certainly does scream a lot in this show. If you’re not into it, I get it. It doesn’t bother me personally. His vocals are a bit shaky, as it sounds like he’s doing a lot of jumping around.
Sound quality is decent. I look at these as really well made bootlegs. Don’t expect anything that sounds like a flawless modern live album. It’s perfectly listenable though. You can hear all the instruments clearly enough (although bass is a bit muddy) and Dave’s vocal/screaming is up front and loud.
The setlist is jam packed full of early Foo classics. 13 songs, plus a little bit of “Happy Birthday” as the following day (Jan 14th 2001) was Dave’s birthday!
Amusingly, Dave dedicates “Monkey Wrench” to Guns N’ Roses who were playing the following day. Dave says he’s never really seen Guns N’ Roses before. Well, isn’t that Kurt’s fault, Dave? You could have opened for them on the 1992 tour with Metallica!
There’s one weird flaw with the CD. At the beginning at track 14, “Everlong” (not even listed on the CD), the wrong song begins. Instead, it’s “Stacked Actors” which is also track 6. This goes on for over two minutes, and finally it fades into a truncated “Everlong”. I have no explanation.
The much anticipated new Foo Fighters album was a big deal to us fans — for the first time, a five-man lineup, three guitar players, and the return of Pat Smear. In other words this album has the same lineup as the glorious Colour and the Shape era of the band, plus Chris Shifflet. Add on expert production by Butch Vig, mixing by Alan Moulder. It sounds glorious! What it lacks in the diversity from the previous two albums, it makes up with the sheer youthful energy from the first two.
Wasting Light hits you right away with the one-two punch of “Bridge Burning” and “Rope”, fast jagged hard rock songs with riffs and Grohl screams. Not totally immediate, but they set the stage for some of the best tunage the Foos have ever laid to wax.
The dark and powerful “Dear Rosemary” is the first bonafide classic on this album, and you can definitely hear the benefit of the three guitars as rhythm & catchy licks merge into one moving whole. “Dear Rosemary”, features Bob Mould (Husker Du) sharing lead vocal duties. What an incredible song. It was a bit of genius inspiration, working with Mould on it. The result is an instant classic, one of the best Foo tunes in the canon. (A Foo-Du tune?)
“White Limo” starts with a brutally heavy metal riff, something that harkens back to Voivod, with Grohl doing his best distorted metal screams overtop. This is primo thrash metal, a total surprise for me. I always knew Grohl was a metalhead, but I didn’t expect anything this overtly metal to appear on a Foo Fighters album. But it’s a welcome change, and my current favourite song for pure adrenaline pumping energy.
“Arlandria” starts slower, but builds to a melodic, dramatic chorus with crashing chords and cymbals. By this time the album has begun to take shape: It has melody but the foundation is the guitar riffage. “These Days” is a total change of pace, a much softer song, but still propelled forward by the beats of Taylor Hawkins, and of course the guitars still crash come chorus time.
“Back and Forth” has a pretty crummy snare drum sound, but Nate Mendel’s bass rings clear and true underneath. It takes a while to get going, but the chorus is still solid. “A Matter of Time” is the weakest song so far, an awkward, jagged non-standout rocker.
“Miss the Misery” is a return to form, starting with a brief “Nobody’s Fault But Mine” drone before settling into an i irresistible set of melodies, punctuated by catchy guitar licks buzzing in and out of the mix. Again, you can hear where three guitar players is coming in handy, as there is a lot going on here guitar-wise. Fee Waybill on guest vocals! Next, Nirvana fans will be excited by an appearance by Krist Novoselic on “I Should Have Known”. Including Pat Smear, this is a reunion of the three surviving members of the final Nirvana lineup, a little mini-historic event in the annals of rock. It is a slow mournful song, with Grohl’s voice back in the mix, singing “I cannot forgive you yet”. It is a beautiful song, and a welcome change of pace. Novoselic’s bass, when it kicks in about halfway, just rumbles. It ends as dramatically as anything else on the album.
The standard edition of the album closes with a song called “Walk”. This is a brighter song, guitars chiming and ringing, and exactly the way an album like this needs to end. But suddenly the pace picks up, and the guitars cascade like the greatest Foo songs of old. This one reminds me, for a number of reasons including riffs, melody and pacing, of “New Way Home”, the awesome closer from Colour and the Shape.
The Foos have created another fine album, not an easy thing to do when you have albums like Colour and the Shape and In Your Honor under your collective belts. They certainly have lost nothing to age, and they have not exhausted their energies. I also think that, after two very diverse albums, it was exactly the right move to return to a predominantly rock direction for this album. It re-grounds the bands back to their roots.
It’s not over yet though, as the iTunes and Japanese editions of the album have bonus tracks. iTunes have an absolutely useless remix of “Rope” by Deadmau5. I guess people who like this kind of music will appreciate it, but it has no place on an album like this. It is monotonous and boring, a waste of five minutes of my time. Much more appropriate is another song called “Better Off”. “Better Off” is almost Beatles-y in melody, but with heavy layered guitars pummeling your ears. I love the lyrics as well — “You know you’re better off, you bastard!”
Wasting Light has been a great and pleasant surprise to me. I wasn’t sure what direction the Foo Fighters were going to take with this record, but I’m pleased that they took a step back to guitar-based basics, yet still retained all the lessons they learned about melody, songwriting and arranging.
BONUS! Just to do something special and unique, and to make a point about recording this album straight to analog tape (no computers!), Dave Grohl has sliced up his original master tape for Wasting Light, and included a piece inside the first run of the CD. Cool, man. Worth hunting down a first pressing for, if you care about such things!
Part 38 of my series of Kiss reviews, leading up to the release of Monster!
KISS – Carnival of Souls (The Final Sessions) (1997, recorded 1994-95)
Finally! Five years since Revenge, a studio album!
But not the studio album that the general public had been expecting. The average person on the street would have expected an album by the original Kiss, since they’d just finished a long worldwide smash hit reunion tour. Carnival of Souls was an album by Paul, Gene, Bruce Kulick and Eric Singer; the album they had finished just before the reunion tour was announced.
Prior to the reunion tour, Gene hyped the new material: “Very much a brother record to Revenge,” was a quote he gave to M.E.A.T Magazine. “Head music” was another phrase he used to describe the new album, which was then still called Head (original artwork from Bruce’s website below).
With 20/20 hindsight, I think it’s obvious that Kiss were choosing to evolve by jumping on the grunge bandwagon. The producer was Toby Wright, best known for cutting two records with Alice In Chains. The riffs were downtuned, heavy, and obviously not from the streets of New York like classic Kiss. These sounded like riffs from Seattle.
The thing is, I like Carnival of Souls, quite a bit. I absolutely loved it back then. I paid $30 for a bootleg copy (at one point, this was the most heavily bootlegged album ever) back in 1996. I like almost every song, and this record was historic for Bruce Kulick. Not only did he have a whopping 9 writing credits out of 12 songs, but he also had his first lead vocal: “I Walk Alone”. (Today, Bruce sings lead vocals on his excellent solo albums — check out the BK3 album featuring Gene & Nick Simmons.)
Ironic that Bruce would indeed walk alone in early ’96, having been a driving force of this record.
Kicking off with a lot of noise, feeback, and Paul’s backwards distored vocals, “Hate” opens Carnival of Souls. Anchored by a complex drum & cymbol pattern by Eric Singer, “Hate” is probably the heaviest song Kiss has ever recorded. It is a relentless Soundgarden-ish assault with a drum pattern straight out of the Matt Cameron book of tricks.
Paul’s “Rain” is another good, grungy song, but it is nothing compared with “Master & Slave”. Also known as “Tell Me” on some bootlegs, this is a bass-driven number, with an actual chorus that can be sung along to. Kiss fans latched onto this one as an early favourite.
“Childhood’s End” is the first epic ballady type song on the album, a Gene title stolen from an Arthur C. Clarke classic. Lyrically unrelated, this song features a children’s choir and probably could have been on an album like Revenge had Bob Ezrin produced.
Perhaps unwisely, this is followed by a true ballad, Paul’s “I Will Be There”, a song written for his son. It is a beautiful, sparse, strictly acoustic piece with a soaring vocal. Bruce’s intricate solo sends this one into the net for a goal.
Closing this “side” of the album is “Jungle”, the only single from Carnival. Clocking in at almost 7 minutes, this is the album’s standout song. It is a powerful bass-driven groove, with the kind of anthemic Paul chorus that keeps me coming back. I love this song, and when I played it in the store, people loved it too.
The second “side” of the album opens with “In My Head”, probably the weirdest Gene song on the album. Heavy, angry, weird. I love this song, but it’s pretty different. Lyrically, musically, this is unlike anything Kiss have done before and I’m at a loss to compare it to something by somebody else.
“It Never Goes Away” follows “In My Head”, another slow one, this one very powerful and perhaps like something that would have been on an album like Superunknown. “Seduction of the Innocent” continues the slow song pattern. It sounds a little like heavy Beatles. I can hear some of that psychedelic “Tomorrow Never Knows” vibe, but in a heavy context. Gene’s chorus tops the cake.
An epic is up next: Gene’s “I Confess”. The verses sound much like outtakes from The Elder, with strings and a dark vibe. Then Gene’s chorus nails the foot back to the gas pedal. The song alternates between heavy choruses and quiet verses, much like the popular music of the time….
Paul’s final song of the album, “In The Mirror”, is a scorcher. It has a killer riff and could have fit on any number of Kiss albums. Imagine it recorded by the original lineup. If you can picture it in a “I Stole You Love” vibe, suddenly it sounds like something that could have been on Love Gun. As it is, the guitars are very 90’s in their sound and the drums very dry. It was the fashion.
Carnival of Souls ends with what ended up being Bruce Kulick’s swan song, his first and last lead vocal: “I Walk Alone”. This fan favourite has a very tentative lead vocal, he’s noticeably improved in the years since. Still, it’s a nice ballad, and when Gene joins him singing the end, it’s perfect. Strangely enough, this song never made any of the bootleg discs out there. Perhaps it was never meant to be on the album? I don’t know the answer to why.
Carnival has two obvious weaknesses: the trendy grungy sound, and the fact that so many songs are slow or ballads. I feel that the ballads are more than made up for by the heaviness of songs like “Hate” and “In My Head”. I think that Paul’s best two songs, “Jungle” and “Master & Slave” make up for any dull moments. As for the sudden defection from rock n’ roll to grunge?
Well, keep in mind that this is the band who went disco in ’79.
There was one outtake from this album, which is on the Kiss Box Set: “Outromental”, which made it onto promo cassettes but was cut from the album itself.
The biggest disappointment with this album was the packaging. The band decided against the original cover art, and to avoid confusion put the bare-faced lineup on the cover. But there’s no booklet, no lyrics, and only a couple pictures.
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