QUEENS OF THE STONE AGEΒ – “First It Giveth” (2002 single)
I’m on record for being a huge fan of Songs For the Deaf. Β Uncle Meat and I disagree on this issue, as he considers Songs For the Deaf as being the beginning of a downturn. Β I see it as some kind of peak, on an equal plane with Rated R. Β “First It Giveth” is undoubtedly one of the highlights from Songs. Β It has a brutally heavy groove on the choruses, coupled with haunted, frantic verses. Β Dave Grohl’s best work is to be found on Songs For the Deaf. Β That is my belief. Β I consider “First It Giveth” to be among the evidence to this.
Track 2 is the groovy spy drama rock of “The Most Exalted Potentate of Love”. Β This is apparently a Cramps cover. Β Wikipedia says The Cramps are “psychobilly”. Β Having heard this song, sure, I’ll go with that. Β It’s pretty cool, that’s for sure.
I’ve never hidden my dislike for remixes. Β 9 times out of 10, the album versions are superior. Β I do think a remix has some merit when it completely transforms a song into something new. Β This remix of “Song For the Deaf” does that. Β Unfortunately I don’t think it’s an improvement in any way. Β The original song is a relentless beast. Β Waves of guitar wash over Grohl’s stumbling drum rolls, while Josh Homme sings hypnotically. Β This remix strips away most (if not all?) of the original instrumentation, isolating Homme’s vocal tracks. Β Then it adds electronic beats, piano, guitar squeals and effects. Β It’s…interesting? Β I’m at a loss for words. Β I don’t like remixes OK?
I have said in the past that I think remixers should come up with better, more original titles for their remixes. Β At least whoever mixed this (the credits don’t say) came up with an original title: Β “The Blind Can Goes Get Fucked Remix” [sic].
Although the technology is kinda dated, there’s also a music video for your computer. Β This is for the main track, “First It Giveth”. Β This is a cool performance video made up of tour and backstage footage.
Two out of three good tracks? Β Pretty easy to rate this one.
So then an other odds n’ sods disc from John Regan of Frehley’s Comet arrived. Β Like 12 Picks, this one also came with an Ace guitar pick. Β The most appealing songs in this collection are the unreleased tracks “One Plus One” and “Give It To Me Anyway”. Β Both are complete Frehley’s Comet songs, produced by Eddie Kramer. Β My respected reviewer friend Jon holds these songs above many that made it onto the actual albums.
“One Plus One” is an excellent commercial rocker with that Ace “quirk” to it. Β This one might have been cut from 1987’s Frehley’s Comet album because it was considered too pop. Β That’s a shame because it’s great. Β Tod Howarth’s high backing vocal complements Ace’s lead for maximum hooks. Β I love it. Β This song is addictive.
“Give It To Me Anyway” is one of the oldest Comet songs, dating back to 1985, recorded for 1989’s Trouble Walkin’, and left unreleased. Β This is a tough, funky rocker, musically ambitious. Β Anton Fig’s avalanches of drum fills are always soothing, but Richie Scarlet’s raspy vocals are the real hook. Β Not that the chorus is bad either!
After these two valuable now-classics, Regan throws on three Frehley also-rans that didn’t make it onto the prior 12 Picks compilation. Β They are Ace’s excellent cover of The Move/ELO’s “Do Ya”, Tod Howarth’s ballad “It’s Over Now”, and “Shot Full Of Rock” from Trouble Walkin’. Β I like all three songs, but I question the wisdom of including “It’s Over Now” on this compilation. Β Ace didn’t write it, didn’t sing on it, didn’t play the guitar solo…
A smattering of live tracks makes up the next section of the CD. Β Some of these are from the Live + 4 VHS release, others are from the same gig that the Live + 1 EP was recorded at. Β “Stranger In A Strange Land” (from Frehley’s Comet) is from this show, and has Anton Fig on drums. Β Not the greatest song but you can actually hear where it would fit into Live + 1 (right before “Something Moved”). Β Up next is “Separate” which Ace introduced as “Separate the Men from the Boys”. Β I’ve admitted to liking the song, but this is especially cool as this is the very first performance of it. Β I dig the vocal and Ace’s chugging guitar and I think it actually works live, surprisingly.
Tod Howarth…I’m sorry dude…you suck at introducing songs. Β I wish you said nothing in front of “New York Groove”. Β You’re no Paul Stanley, believe me. Β I ain’t gonna “clap those hands”. Β Thankfully the performance of the song is great, even if Jamie Oldaker butchers the drum part. Β “Rock Soldiers” is once again back to the Anton Fig lineup, and this time Ace does the intro himself. Β You can immediately tell it’s a different drummer, it’s like night and day. Β “Remember Me” is the last of the live tracks, and though it’s presented live, it’s the same version that is on Trouble Walkin’.
The final two songs are parts 2 and 3 of the “Fractured” tetralogy (though in 1998 still a trilogy). Β Part one, of course, was on Ace’s 1978 solo album, which is considered part of the Kiss catalog. Β Therefore, John Regan wouldn’t have been able to use it on Loaded Deck. Β It’s fine…a bit of a cop out way to end a compilation album I think. Β To me, it feels like, “We’re all out of good songs so here’s two instrumentals.” Β For the casual fan, it’s a “blah” ending. Β For the die-hards, well, we already have these songs…part one included…and could make our own tapes with all of them, should we desire to experience them like that. Β I’ve never had that compulsion. Β They were all individual album closers, that felt right ending the albums in that context. Β Together, it doesn’t work for me.
Sometimes a compilation leaves a bad taste in my mouth. Β If it’s a disjointed listening experience, I’m less likely to return to that compilation. Β Loaded Deck gets fewer plays in my collection than 12 Picks does. Β Even though they are meant to complement each other, like two discs of a double anthology, I think 12 Picks is a better album experience.
What Regan should have done is make an album of just the unreleased studio and live songs, without the stuff we already had on the studio albums. Β Megaforce figured that out, and in 2006 issued Greatest Hits Live, a compilation of these two compilations. Β After we already bought said compilations. Β Awesome.
2/5 stars for the album, just go ahead and get Greatest Hits Live instead.
RECORD STORE TALESΒ Part 234: Β Wild in the Streets
1987βs Wild in the Streets was one of the harder Helix albums to acquire on CD. Cassette and LP were no problem at all, but relatively few CDs were produced in comparison. In 1992 I found a used cassette, (at a filthy music store in Port Elgin, Ontario) which came in a neat glow-in-the-dark cassette shell. It was the only glow-in-the-dark cassette Iβve ever seen or owned. Cassettes being what they are, I later desired a more permanent copy, CD being my preferred medium. This proved frustratingly difficult to find, even after being hired at the record store in July 1994.
This was important to me, because Helix were my first rock concert, on the Wild in the Streets tour. Johnny Cash was my first concert, but I saw Helix in October of 1987 in the Center in the Square, with Haywire opening, and they were awesome. The album wasnβt one of their best, but it did have classics such as βDream Onβ, βKiss It Goodbyeβ, βSheβs Too Toughβ and the title track. That old cassette wasnβt going to last very many plays.
Once starting at the record store, I discovered that Capitol/EMI had long since deleted the album. Brian Vollmer was still years away from reprinting and selling the albums himself, so my only option was to find a used copy. Since we sold used CDs, I hoped that one would eventually float my way. In the meantime I checked the βHβ section of every record store I could find. No luck. Years, I looked. Like a woe begotten sailor searching for Cthulhu and the lost city of Rβlyeh, I sailed the seas of music, searching.
Our first store didnβt have a computer, just pens and paper. We worked without a computer for years. All of our CD orders and reservations were done manually, in binders and note books. We had several pages of used CD reservations: many people looking for copies of the Beatlesβ Red and Blue albums, T-Rev looking for Saga and Steve Earle rarities, and my hunt for the elusive Helix CD. This system wasnβt very efficient, as you basically had to remember what albums people were looking for, and go and check the book for the personβs information. If you saw, for example, a Traveling Wilburys CD in stock, youβd check the book because you knew someone was waiting for it. Β It wasn’t an exact science but we did the best we could.
In 1996, when I was given my own store to manage, we finally got a computer! Β The software had a computerized reservation list. Β When you were entering new arrivals, you’d manually type in a title. Β So, “MOTLEY CRUE” – “DR. FEELGOOD”. Β AΒ little note would pop up saying βreservation foundβ. You would then go to a different screen, find the person looking for the CD, write down their contact info, and delete the reservation. Β This system was extremely vulnerable to human error. Β They later refined it, making it smoother and more automated.
I entered my name in for Helix β Wild In the Streets right from the very beginning. With this new computerized system, I figured my chances of finding the CD had improved. Β Not so.
The months went by, the seasons changed, still no Helix. My friend Len, who was a customer I met via the store, put himself in reserve for the Helix CD as well. I would have had first dibs on it if it came in, but as time went on two or three more people added their names to the waiting list. The likelihood of everybody getting a copy was nil, considering the years that I had been working there and never seeing one. Β (In good enough condition, anyway.) Β There was always a hope that one day, a copy or two would float our way. Len eventually found a copy at another store and removed his name from our reservation list. I congratulated him on his excellent discovery. He refused to sell it to me, however, even though I offered him $15 which was more than he paid.
A few months later, Len stopped in for one of his regular shopping visits. A pawn shop named Cash Converters had opened up in our plaza, causing us a little bit of unwanted competition. They too bought and sold used CDs. Usually they took whatever crap we didnβt, but occasionally people brought their good stuff to Cash Converters first.
This time, Len had an exciting piece of news for me. Β βDo you still need Wild in the Streets?β he asked with a smile. βBecause they have one at Cash Converters right now. 12 bucks.β
My eyes popped! Β Excitedly, I handed Len some cash and asked him to pick it up for me. He returned a couple minutes later, with my own personal copy of Wild in the Streets. Mission accomplished! Finally! It was in like-new condition. All it needed was a fresh jewel case, which I provided as soon as possible. That night I finally had the chance to hear the album, in CD quality sound.
That original CD was in my collection for a long time. Β In fact only recently did I find the Rock Candy remastered edition with expanded artwork and liner notes, used at Encore Records. I then handed my original to (former customer now friend) Aaron, which he received at Record Store Excursion 2013!
The lessons from this are two-fold:
1) When Record Store Guys befriend their customers, they get CDs out of the deal!
2)When customers befriend their Record Store Guys, they get CDs out of the deal!
Welcome back to WTF. Β Everything seen below is an actual search term that somehow took people here to mikeladano.com. Β In the public interest, today I thought I’d gather together health-concerned search items. (Missed the last installment? Β Click here!)
dr george morgan lebrain (I am only a doctor of Rock)
doctors names and phone number in canada @yahoo.ca “+1” -spam (but I am unlisted)
I never would have heard the original version of this song (by Norwegian comedy duo Ylvis), if Craig Fee didn’t subject his listeners to it one afternoon. Β I’d never heard of PelleK before seeing this video of his cover. Β I know that he’s a Norwegian metal singer with a fantastic Justin-Hawkins-wide range. Β I’ve seen numerous YouTube videos, of PelleK covering a wide variety of songs. Β I guess when Ylvis went viral with their irritating but amusing video for “The Fox”, PelleK decided to take a shot at it, too.
Power metal style, of course!
I can’t help it, I’m addicted to PelleK’s take on this annoying novelty track! Β I don’t think I’d be exaggerating if I said that this has been played on somebody’s phone at least a dozen times during our lunch hour at work since it came out! Β “The Fox” works as a “power metal” version! Β Egad! Β And PelleK’s incredible pipes lend themselves to some hilarious interpretations of what the Fox does indeed say. Β I’m surprised how much I like the heavy guitars and drums on “The Fox”. Β I might have to play this in the car, windows down, down on King Street to piss the rapper kids off.
Even if that’s the best thing to come from PelleK’s version of “The Fox”, then it’s still worth:
I was very impressed with the “new”Β Greatest Hits Remixed by Triumph. Normally I don’t go much for remixes, as 9 times out of 10 the original versions are superior. Greatest Hits Remixed however was done by none other than Rich Chycki (ex-Winter Rose) whose credits include remixing work with Rush, particularly onΒ Retrospective III. He did the first remixes of the Vapor Trails material, leading to the band remixing the whole album today. Β Chycki’s work elevated those songs to a new level, likewise with Triumph.
The drums are louder and harder (read: modern sounding). The guitars more aggressive. The rolling, grooving basslines are now in your face. (I may have underrated Mike Levine in the past.) Β Keyboards have been toned down. Vocals have been stripped dry and place high in the mix. In the case of “Just One Night”, the entire song sounds re-recorded, particularly the lead vocal. Β Gil sounds older on this version. Even the hokey cheese of “Somebody’s Out There” has been replaced with a new edge, drowning out the formerly keyboard-heavy leanings. My only complaint is that some vocals are a little heavy on echo.
This CD-DVD 2 disc set comes with a wealth of interesting extras. Β The DVD here is a great package on its own, and would have been worth buying in the $10 range alone. Every major Triumph video is here, now backed by the remixed tracks. In addition, there’s some bonus features, such as the “Child of the City” music video by the “v2.0” version of Triumph with Phil X. Β There’s some early fan-cam footage (“Blinding Light Show”) and perhaps best of all, Triumph inducted into the Canadian Music Hall of Fame. Β They are inducted by Tom Β Cochrane, introducing Gil Moore as one of his closest friends. Β Who knew? Β Additionally, the set is housed in a nice double digipack, with lots of photos (a couple recent ones too) and lots of text to read. On the whole, a well made and timely package.
If you’re a new fan who hasn’t got their first Triumph CD yet, this package is a pretty good buy. Β You might really get into the more modern sound. If you’re an old fan, I think it’s fun to enjoy the memories and the harder rocking sounds.
METALLICAΒ – Six Feet Down Under Part II (2010 Universal)
Unlike the first Six Feet Down Under disc, Part II was not taken from bootleg sources. The fidelity here is much better, making this an immediately more enjoyable listen. Whereas the first EP released Australian Metallica recordings as far as back the Justice days, this EP was taken solely from Metallica’s most recent Aussie tour.
The track list is quite good: Β “Blackened”,Β “Lightning”,Β “Horsemen”,Β “Sanitarium”,Β “Puppets”,Β “Justice” (which was also on the first EP),Β “Fade to Black” andΒ “Damage Inc.” Β How could you possibly go wrong? Β I found “The Four Horsemen”, performed in breakneck, heavy delivery to be the highlight.
You’ll notice all the songs are oldies. Β They are all over 20 years old, with nothing from the Black album or beyond. That’s because these tracks were selected for release by the fans! Β The fans have spoken, and this is the Metallica EP they wanted to buy. Personally, I prefer a more varied lineup. While I’m sick to death of a lot of the Black and Load album material, it would have been nice to get some recent stuff from Death Magnetic too.
The performances are, as expected, pretty sloppy at times. Hey, it’s Metallica. Β We all know Lars is a sloppy drummer. Β I get it. Β Still, the energy and adrenaline is there, and that’s what makes a Metallica concert special. Since these tracks were pulled from several concerts in Australia and New Zealand, you have to assume the band picked the versions that they liked best.
Packaging wise, this one lacks the little liner notes. However, the cool part is, it comes in a double CD digipack designed to house both Part I and Part II in the same case. Remember back in the early 90’s, when bands would do that with CD singles? I love this little retro touch.
My only complaint once again is the price. Like the last EP, this is not cheap. You have to remember this was released for Australians in Australia. Lots of bands do exclusive releases for certain territories all the time, it’s not a Lars cash grab, and I’m sure most of the money you’ll pay goes straight to the retailers and importers. If you’re a devoted fan you’ll pick this up, and if you’re a resourceful one you’ll figure out how to get it at a reasonable price. If not, there’s lots of live Metallica available out there for peanuts.
I find these two releases (plus a third EP from 2010, Live at Grimy’s which I own on 10″ vinyl) to be a really cool retro treat. Some of us still like to buy CDs and limited editions. That’s who this stuff is for, and I’m really happy Metallica remember their roots as rock fans and collectors themselves.
METALLICAΒ – Six Feet Down Under EP (2010 Universal)
This Metallica EP for Australia only, Six Feet Down Under, will be of limited interest to casual fans. The EP (the first of two for Australia) is a decent tour souvenir for those fans, but for fans in Canada or elsewhere who will have to pay much higher prices, this is mostly just a collectible. Β The sound quality varies wildly. Β The tracks were selected as songs that were not often (or ever) released as live B-sides before.
The oldest tunes from ’89 (“Justice” and “Beholder”) are from audience bootleg sources, and are very rough. I have heard much better bootlegs. Β The idea was to give fans rare tracks recorded in Australia, so this really is something geared towards collectors. Β I’s hard to critique the tunes beyond sound quality, because it’s not like you can really discern bass parts or cymbals and so on.
The ’93 tunes are “Through The Never” (extremely sloppy, especially on the rhythm guitar) and “The Unforgiven”. These songs sound a lot better. “The Unforgiven” in particular is a very nice version. Metallica had started recording their shows via soundboard by now.
Then we jump ahead to the ReLoad tour. Personally, I really liked Load, but I wasn’t very hot on ReLoad. I was still excited to hear live versions of “Low Man’s Lyric” and “Devil’s Dance”, but quite frankly, they sound uninspired.
From 2004 we have a really cool live version of “Frantic”, one of the best tunes from St. Anger. Whether you like it or not will depend on how you feel about St. Anger. I liked this version. Wisely, Metallica decided to include only one St. Anger tune. The other tune from 2004 is “Fight Fire With Fire” which is, once again, very sloppy. But hey, at least you know it’s live.
There are liner notes included as per most Metallica singles and EPs. This just explains the purpose of the EP and the sources of each track. Β Sounds like something you’d be into? Then go for it. If you’re not intrigued, don’t plop down the big bucks if you’re buying it on import. Β I will say that Metallica aren’t ripping the fans off; this “EP” is 52 minutes long. Β By way of comparison, Diver Down by Van Halen is 28 minutes.
QUEENSRΕΈCHE –Β QueensrΓΏcheΒ (2013 Avalon Japanese import)
I purchased and reviewed the domestic “deluxe edition” of Queensryche (2013) in July of this year. Β I initially gave it a 3.25/5 stars, but I have since revised that score to 3.5/5. Β The album continues to appeal to me greatly months later, which is more than I can say for most Queensryche discs since Promised Land. Β At the end of that review, I cryptically added, “Oh, and the live bonus tracks absolutely smoke.”
Since nobody likes a tease, I’ve decided to focus on all four live tracks for this review. Β For the very reasonable price of $32 USD plus $3 shipping, I had a sealed copy of Queensryche sent to me from Japan, so I now have all four live tracks. Β If you want the short report: Β They’re good enough that Queensryche should consider releasing a full live CD/DVD. Β I’d buy it based on these four tracks. Β But nobody comes to mikeladano.com for the short version.
“Queen of the Reich” is the first song I ever heard from the original Β Queensryche, as I suspect is true for most of the band’s fanbase. Β Right from the opening scream, I feel that this is the band that represents Queensryche. Β Every note is nailed, as is every scream. Β On this song Todd La Torre can do no wrong, but not just that. Β I would say that his versions are, in general, fresh sounding. Β He is reverent to the originals, but I also hear his own voice. Β I must also commend Scott Rockenfield. Β His drums are heavy as fuck, and his bass drum precisely punctuates every beat.
“En Force” is a welcome surprise. Β In 2001, Eddie Jackson told me that it was considered in the running for the Live Evolution album but did not make the cut. Β The good news is the guys still know how to play it! Β This has never been my absolute favourite track from The Warning, but to hear it live with all the screams intact? Β That’s something I never thought would happen again.
“Prophecy” is a difficult song, and although Todd doesn’t sing it album-perfect, I have to ask myself, who else these days can sing these Queensryche songs like this? Β Not too many singers. Β I just hope Todd doesn’t blow out his voice. Β I’m sure this kind of singing takes its toll.
Last is the classic “Eyes of a Stranger”. Β This is the only bonus track not from the stone ages of the Ryche, the only representation of Operation: Mindcrime. Β It is actually this track, in many respects, that shows off the talents of Todd La Torre. Β It is another side of the spectrum, and Todd pulls this off as well. Β Look, I know Geoff Tate’s the original, etc. etc. Β I get that. Β Focused on the here and now, this is how I’d like to hear Queensryche sound. Β Heavy, slightly progressive rock music with shredding vocals. Β That’s what I like, and Queensryche deliver on these four bonus tracks.
Lastly, a word about Parker Lundgren. Β I remember when Kelly Gray joined the band, on Live Evolution he lent a different sound to the band. Β It was good, just different. Β Parker fits much more seamlessly. Β He doesn’t attract attention to himself by playing things differently, he played it the way you remember it.
Yeah, so I bought the album twice. Β You knew I was going to. Β For the bonus tracks:
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