heavy metal

REVIEW: Def Leppard – “Helen Wheels” from The Art of McCartney (2014)

Part Forty-Six of the Def Leppard Review Series

DEF LEPPARD – “Helen Wheels” and
JOE ELLIOTT – “Hi Hi Hi” from The Art of McCartney (2014 Arctic Poppy)

The Art of McCartney has to be one of the most anticipated yes lesser known tribute albums of the last two decades.  Anticipated because it promised new cover tunes by Kiss, Rick and Robin from Cheap Trick, Alice Cooper, Sammy Hagar, Bob Dylan, Billy Joel, Heart, Willie Nelson Paul Rodgers, and so many more.  For this review series we’ll be looking at two tracks:  one by Def Leppard, and one by Joe Elliott.

Paul McCartney needs no introduction.  If he does, then I ask you to read about a band called “The Beatles” before you read anything else here!

Produced by Ronan McHugh and Def Leppard, “Helen Wheels” is unmistakable Def Leppard.  The opening drum pattern certainly recalls Rick Allen’s work on “Rocket”.  Then it careens into pure pop rock delight!  This Wings single was released in 1974 and later included on some versions of Band on the Run.  Driving, fun, and while different from Def Leppard’s core sound, it’s ideal for them to cover.  The boys in the band aren’t bad singers y’know.

Joe’s solo cover is “Hi Hi Hi”, a standalone Wings single from 1972.  This is far more raw than the Leppard track.  Abe Laboriel Jr. on drums!  Joe’s vocals were recorded at his home studio while the backing tracks were recorded in Los Angeles and London.  Quite a production, but that’s the modern way of doing things.    One thing about Joe’s vocal:  he absolutely goes for it!  It’s like rough and ready Joe from 1980 has returned, but with the skill and experience of an older singer.  This is just a piano-boppin’ rock and roller.

Bravo to Joe and Def Leppard for coming up with some inspired covers.  Certainly more inspired than most of the Yeah! covers album.

4/5 stars

Previous:  

    1. The Early Years Disc One – On Through the Night 
    2. The Early Years Disc Two – High N’ Dry
    3. The Early Years Disc Three – When The Walls Came Tumbling Down: Live at the New Theater Oxford – 1980
    4. The Early Years Disc Four – Too Many Jitterbugs – EP, singles & unreleased
    5. The Early Years Disc 5 – Raw – Early BBC Recordings 
    6. The Early Years 79-81 (Summary)
    7. Pyromania
    8. Pyromania Live – L.A. Forum, 11 September 1983
    9. Hysteria
    10. Soundtrack From the Video Historia – Record Store Tales
    11. In The Round In Your Face DVD
    12. “Let’s Get Rocked” – The Wait for Adrenalize – Record Store Tales
    13. Adrenalize
    14. Live at the Freddie Mercury Tribute Concert
    15. Retro-Active
    16. Visualize
    17. Vault: Def Leppard’s Greatest Hits / Limited Edition Live CD
    18. Video Archive
    19. “Slang” CD single
    20. Slang
    21. I Got A Bad Feeling About This: Euphoria – Record Store Tales
    22. Euphoria
    23. Rarities 2
    24. Rarities 3
    25. Rarities 4
    26. Cybernauts – Live
    27. Cybernauts – The Further Adventures of the Cybernauts (bonus disc)
    28. X
    29. Best Of (UK)
    30. Rock Of Ages: The Definitive Collection
    31. Yeah!
    32. Yeah! Bonus CD With Backstage Interviews
    33. Yeah…Nah!  (Record Store Tales)
    34. Songs From the Sparkle Lounge
    35. “C’Mon C’Mon” (picture disc)
    36. Taylor Swift & Def Leppard – CMT Crossroads (DVD)
    37. B.Sides
    38. Yeah! II
    39. Yeah! Live
    40. Mirror Ball: Live & More (Japan bonus track)
    41. iTunes Re-recordings
    42. Viva! Hysteria (CD 1 & DVD)
    43. Viva! Hysteria (CD 2 & bonus features)
    44. Viva! Hysteria (Japanese bonus track)
    45. Slang (2014 deluxe edition bonus tracks)

Next:

47. Def Leppard (Deluxe and Japanese versions)

RE-REVIEW: Def Leppard – Slang (2014 Deluxe edition bonus tracks)

Part Forty-Five of the Def Leppard Review Series

Original review:  Slang 2014 Deluxe Edition

DEF LEPPARD -DEF LEPPARD – Slang bonus tracks (Deluxe Edition, 2014 Bludgeon Riffola)

‘Twas a surprise when 1996’s Slang received the deluxe edition treatment in 2014.  The Viva! Hysteria celebrations were a success, and now another album was getting a little bit of attention, although the word “deluxe” really pushed it.  As the Heavy Metal Overlord once stated:

When it turned up I wis pure gutted. I thought the booklet had better be snazzy but it wisnae either. Just a wee hing where Joe tried tae mind stuff fae back in the day. Nae liner notes. Nae lyrics. Nuhin. Just some shite photies. My old copy had two discs, a slimmer case and lyrics. And some photies an aw! Gid wans. One of them oan a bus like they were aw goin doon the toon or somethin. How wis that no deluxe but this is deluxe? If they’d called it a “2CD Edition” that wid huv been awrite but they didnae. This is “deluxe”… cept it isnae. I don’t have a Scooby whit they’re playin at. Eejits.

Exactly.

Deluxe or not, the expanded edition of Slang gave new focus to the cult-status album.  Radically different versions of album tracks, unreleased songs, and works in progress offer a look at an album that really has never received its due credit for what it was.

The Slang deluxe featured a number of bonus tracks, and some iTunes exclusive bonus tracks as well.  Thankfully, the Def Leppard CD Collections box sets include some of these bonus tracks. Today we’ll mostly focus on the ones not included in previous reviews, from the Slang deluxe.

Here is a list of the iTunes bonus tracks, later included on one of the CD Collection box sets.  We’ve discussed these before in more detail.

1. “Truth?” (Demo Version) – Previously on “Work It Out” CD single.

2. “Work It Out” (Demo Version) – B-Side from “Work It Out” with Viv singing and completely different from the other versions on the Deluxe. Viv referred to it as his “Crowded House” version.

3. “When Saturday Comes” From the film When Saturday Comes and “All I Want Is Everything” single.

4. “Jimmy’s Theme” From the film When Saturday Comes and “All I Want Is Everything” single.

5. “Cause We Ended as Lovers” (Solo track by Phil)  From the Jeff Beck tribute album Jeffology: A Guitar Chronicle and “All I Want Is Everything” single.

6. “Led Boots” (Solo track by Viv)  From the Jeff Beck tribute album Jeffology: A Guitar Chronicle and “All I Want Is Everything” single.

There are also two iTunes exclusive bonus tracks that remain exclusive to iTunes.  We’ll get to those.

The Slang deluxe’s first bonus was track 12 on disc one, the buttery “Move With Me Slowly”, the original Japanese bonus track for Slang.  This is a beautifully recorded, raw, smooth, and sexy Def Leppard song.  An incredible song, as we have discussed on the CD Collection Vol. 2.  We’ll say it again:  should have been on the album.  We’ll add:  those guitar solos are so incredible.  Full of feel, organic sounding tone.  Some of the best guitar playing on a Def Leppard song.  Another good one is track 16, the acoustic “Can’t Keep Away From the Flame”, a B-side and Japanese bonus track to the Vault CD.  Another song that deserved a proper place on an album.  “Worlds Collide” is also on this set, a really heavy metal track, originally released on the B-side to “Goodbye” during the Euphoria era.  Heavy, but definitely B-side material.  We also have “Burn Out”.  Great little rocking groover, more like old Def Leppard than the final Slang album.  No loops, no electronic instrumentation, so acoustics.  Just chug, chug, chug and rock and roll.  Joe’s vocal is full of attitude.

Let’s go through all the remaining Slang bonus tracks and have a listen to a largely misunderstood album, as it might have been.

1. “All I Want Is Everything” (Demo) – iTunes only.  A unique version of the song, with the some of the lyrics intact and everything radically different.  The chorus has the final melody, but delivered as a more traditional rock shout.  The melancholy mood of the final version is taking shape, but there is no question that “All I Want Is Everything” was better in its final version.

2. “Turn to Dust” (Phil verse vocal version)  (Track 1, disc two.)  This version of the second Slang album track is similar to the final, though with Phil Collen singing the verses, with Joe on the chorus.  Phil’s raspier voice adds a different, laid back direction.  The backing track is not the final mix though the sitar and some of the effects are in place.  Collen fans will love it.

3. “Raise Your Love” (version of “Slang”)  (Track 2, disc two.)  Choppy rock guitars are the main feature here!  Joe’s opening rap is intact, but the song deviates from there.  The chorus is a very different refrain of Phil singing, “Baby raise your love!”  Cool track for sure, but the final song became something far more unique as we’ve seen.  If you wished “Slang” was a more rocking tune, then you better check out “Raise Your Love”.

4. “All I Want Is Everything” (1st draft) (Track 3, disc two.)  Somehow, the “1st draft” is more complete and closer to the album version than the “demo”.  Were the two versions mislabelled?  This sounds more like a demo, with the other being the first draft.  In fact this is so close to the final album mix, that you might be able to fool your friends.  The guitar solo is missing, as are the big vocal hooks that follow, which is the biggest clue.

5. “Work It Out” (1st draft) (Track 4, disc two.)  Like the above, this is very close to the final album version.  Very different from Vivian Campbell’s demo, one of the aforementioned iTunes bonus tracks.  Joe’s vocal is not the final take, but the backing track sounds almost ready.  The stuttering guitars and droning strings are all there.  You can hear, in the layers of guitar, the skeleton of Viv’s original idea.

6. “Breathe a Sigh” (Feb ’96 rough mix) (Track 5, disc two.)  All the pieces are in the place but the atmosphere isn’t captured yet.  The final mix would nail that R&B crossed with Def Leppard vibe.

7. “Deliver Me” (Feb ’96 rough mix) (Track 6, disc two.)  Again, very close to the final mark.  Just an earlier, less elaborate version of the final album mix.

8. “Black Train” (version of “Gift of Flesh”) (Track 7, disc two.)  The main riff is there.  The verse melodies are there.  The chorus is the major difference, with this one being a shouty affair.

9. “Blood Runs Cold” (Feb ’96 rough mix) (Track 8, disc two.)  Of all the rough mixes, “Blood Runs Cold” is the most indistinguishable from the final track.  The chorus is the most different, with Phil prominently assisting Joe.

10. “Where Does Love Go When It Dies” (1st draft) (Track 9, disc two.)  Has an almost Marillion-like sheen to the opening guitar textures.  These fade and the mix goes purely acoustic.  This excellent song was already in fantastic shape at this stage.  Could have been on the album as-is.

11. “Pearl of Euphoria” (Feb ’96 rough mix) (Track 10, disc two.)  The epic album closer from Slang, in an early mix.  Similar, but the final version sounds busier, which enhances it.  They made some different choices in the middle section of this mix, but the in-your-face guitar is quite delectable.

12. “All on Your Touch” (2012 revisit) (Track 11, disc two.)  A Slang-era track never properly finished until 2012.  Laid back, dark ballad.  Understated, with shades of “Love Bites” in the guitars, but with an explosive hard-edged chorus.  Awesome solo work on this song.

13. “Anger” (“Deliver Me” 1st draft) (Track 12, disc two.)   Different from the above “final mix” which was very close to the album.  This “first draft” has a different chorus:  “Anger, I’m feeling so much anger!”  It fails to deliver the intended punch, and so it is good they revised it and kept working on it.  They obviously knew the chorus was not the needed hook.

14. “Move On Up” (Vivian demo) (Track 13, disc two.)  Completely unreleased song, a Campbell demo.  Neat punchy riff, with a hint of Jimmy Page.  Vivian sings, and his vocal melody is melodic, different and enjoyable.  It’s too bad the guys didn’t take this song further.

15. “Gift of Flesh” (Phil vocal) (Track 14, disc two.)  Another treat for those who love the raspy voice of Phil Collen on lead vocals.  The backing track is not all the way there yet, but Phil’s vocal track provided the blueprint for the final album version.

16. “Move with Me Slowly” (1st draft) – iTunes only.  The buttery smooth “Move With Me Slowly” appears again, this time in a “first draft” version exclusive to iTunes.  Rougher, slightly rawer mix.  The outro goes out longer, lingering like flavours on your tune.

While it was nice to see Slang get a reissue with a wealth a bonus material, it was a shame the packaging didn’t quite rise to the occasion.  With two tracks remaining unreleased in physical form, and not all the material from the era available in a single place, it’s not too late to do a super deluxe.

4/5 stars

Previous:  

  1. The Early Years Disc One – On Through the Night 
  2. The Early Years Disc Two – High N’ Dry
  3. The Early Years Disc Three – When The Walls Came Tumbling Down: Live at the New Theater Oxford – 1980
  4. The Early Years Disc Four – Too Many Jitterbugs – EP, singles & unreleased
  5. The Early Years Disc 5 – Raw – Early BBC Recordings 
  6. The Early Years 79-81 (Summary)
  7. Pyromania
  8. Pyromania Live – L.A. Forum, 11 September 1983
  9. Hysteria
  10. Soundtrack From the Video Historia – Record Store Tales
  11. In The Round In Your Face DVD
  12. “Let’s Get Rocked” – The Wait for Adrenalize – Record Store Tales
  13. Adrenalize
  14. Live at the Freddie Mercury Tribute Concert
  15. Retro-Active
  16. Visualize
  17. Vault: Def Leppard’s Greatest Hits / Limited Edition Live CD
  18. Video Archive
  19. “Slang” CD single
  20. Slang
  21. I Got A Bad Feeling About This: Euphoria – Record Store Tales
  22. Euphoria
  23. Rarities 2
  24. Rarities 3
  25. Rarities 4
  26. Cybernauts – Live
  27. Cybernauts – The Further Adventures of the Cybernauts (bonus disc)
  28. X
  29. Best Of (UK)
  30. Rock Of Ages: The Definitive Collection
  31. Yeah!
  32. Yeah! Bonus CD With Backstage Interviews
  33. Yeah…Nah!  (Record Store Tales)
  34. Songs From the Sparkle Lounge
  35. “C’Mon C’Mon” (picture disc)
  36. Taylor Swift & Def Leppard – CMT Crossroads (DVD)
  37. B.Sides
  38. Yeah! II
  39. Yeah! Live
  40. Mirror Ball: Live & More (Japan bonus track)
  41. iTunes Re-recordings
  42. Viva! Hysteria (CD 1 & DVD)
  43. Viva! Hysteria (CD 2 & bonus features)
  44. Viva! Hysteria (Japanese bonus track)

Next:

46. “Helen Wheels” (from The Art of McCartney)
47. Def Leppard (Deluxe and Japanese versions)

REVIEW: Ozzy Osbourne – Patient Number 9 (2022)

OZZY OSBOURNE – Patient Number 9 (2022 Epic)

It’s very easy to be cynical about any new Ozzy album since about Down To Earth and onwards.  Corporate constructions.  Special guest writers and performers. “Here Ozzy, sing these new songs we wrote for you.”  Prior to that, it felt like Ozzy had a band, and that band took different directions on each album.  Now Ozzy has Andrew Watt and a slate of big-namers.  It’s been this way a while.  This time the difference is, the process resulted in a pretty decent album.  Sure it’s still Watt at the helm, with special guests in big letters on the back cover and front stick.  Jeff Beck!  Eric Clapton!  Tony Iommi!  Zakk Wylde!  Of course without a real band, you don’t get that cohesive band sound, but what you do get ain’t bad indeed.

Each track (except for “Darkside Blues” which is either a new version or a new mix of the Japanese bonus track from Ordinary Man) has credits by Andrew Watt and professional songsmith Ali Tamposi.  She’s more known for Kelly Clarkson, Nickelback, and a slew of Justin Bieber and Miley Cyrus hits.  She also co-wrote most of Ordinary Man so there’s a formula at work here.  Other co-writers include Ryan Tedder, Duff McKagan, Chad Smith, Robert Trujillo, Tony Iommi, Chris Chaney, and the late great Taylor Hawkins.

Ozzy falls into his comic horror persona a bit too much.  There was once a time when he was trying to shed that “crazy madman” image but he’s really leaned into it again for the last couple decades.  As such the album opens with silly “insane asylum” sound effects that only delay us getting to the good stuff.  The opening title track is over seven minutes long with that nonsense attached.  It’s also one of the poorer of the new songs, overly formulaic and modern with robotic hooks.  Jeff Beck’s unconventional and slippery solo work makes it worth a listen (Watt and Wylde play the rhythm and fills).

Things really get moving on track two, “Immortal” featuring Mike McCready of Pearl Jam and Duff on bass.  Good riffing and grooving going on here, and the first memorable chorus.  The Hawkins co-penned “Parasite” is another grooving highlight, featuring the Foo Fighter on drums.  The chorus is really solid and just moves like a ‘Vette on the highway.  That’s Zakk on lead guitar, but he’s instantly recognizable.  Former Ozzy bassist and currently Metallicer Rob Trujillo on bass.

What’s really amazing is that with the help of Tony Iommi, this hodge-podge of creators managed to write a seriously Sabbathy dirge called “No Escape From Now”.  You’d swear it’s Geezer Butler on bass, but it’s not.  It’s actually Watt.  It’s as Sabbathy, if not more so, than most of the 13 album.  It feels a bit “token”, like, “Oh hey Sabbath fans, here’s a song with the riffs and time changes that you like.”  Yet it’s one of the songs you’ll keep returning to, and probably for those reasons.  Of note, this is the only song without Andrew Watt on rhythm guitar.  It’s all Tony and only Tony which is the reason it feels heavy as a bloody brick.

In a throwback to Ozzmosis, “One of Those Days” with Eric Clapton really sounds a bit like “I Just Want You”.  Clapton really adds a touch of class.  One could imagine that the chorus will upset certain people with it’s refrain of “I don’t believe in Jesus”, but it is one hell of a chorus – pun intended.  Unfortunately the ballad that follows, “A Thousand Shades”, is a throwaway, aside from the brilliant Jeff Beck guitar solo.  One of the Hawkins co-penned tracks called “Mr. Darkness” takes a minute to get going, seemingly a song about fan letters that Ozzy once received.  It and the next two songs all feature Zakk Wylde on guitar.  Dull verses, but awesome chorus, with an awesome Sabbathy change towards the end.  The only dumb part is the silly ending where Ozzy speaks, “You don’t even know my name you asshole.”  Just…no.

“Nothing Feels Right” is another ballad, very Ozzmosis-y.  Decent song, good chorus, with all the production bells and whistles.  It really smokes during the solo section.  Another Sabbathy sounding riff emerges on “Evil Shuffle” and it really seems clear that Andrew Watt is trying to channel Geezer Butler’s bass playing on this album.  Not that it’s a bad thing.  Then it’s the much-hyped “Degradation Rules” with Tony Iommi, a song about masturbation, but not as good as the prior Iommi song.  The main hook here is Ozzy’s harmonica playing, a great throwback to “The Wizard”.

“Dead and Gone” is a deep cut highlight, with a latter-day Priest-like groove and lots of Zakk Wylde chunk.  An album highlight buried way in the back end.  Finally, “God Only Knows” is the last proper song, but unfortunately sort of a last gasp rather than a late highlight.  Kind of a ballad, with lush backing vocals, but not a “Road to Nowhere” kind of late album winner.

The outro music, “Darkside Blues”, appears to be a remix of the original version from Ordinary Man‘s Japanese release.  You can compare the waveforms below.  It’s a swampy track with more of Ozzy’s harmonica, just a coda to the album.

It’s pretty amazing at this stage of the game that Ozzy is still cranking out new music, but of course he has a huge support team behind him.  This time, the team produced an album better than the last one by a pretty fair margin.  They could have cut two tracks and made it a more engaging and concise listen.  It’s always a balancing act between giving the listener added value, or a streamlined experience.  A minor quibble at the end of the day.

3.5/5 stars

REVIEW: Rush – “Caravan” / “BU2B” (2010 CD single)

RUSH – “Caravan” / “BU2B” (2010 CD Anthem single)

“Parts one and two of Clockwork Angels, a work in progress”.

That’s pretty monumental.  Rush were releasing two key tracks from their forthcoming studio album, a full concept album this time, well in advance.  Two years in advance.  Notably, this was a full concept album start to finish.  In the 70s, Rush were more known for half concept, half non-conceptual records.  The bands that Rush inspired like Queensryche and Dream Theater had done full concepts.  Now the original masters were taking a shot.

On the final album, “Caravan” is track one and “BU2B” is track two.  On this single the order is swapped.  “BU2B” (“Brought Up to Believe”) opens, although its intro changes on the album version.  “BU2B” absolutely slams.  “I was brought up to believe that the universe has a plan…”  Perhaps it opens this single because it sums up the overall album concept.  In a fictional world run precisely by a “Watchmaker”, a rebellious protagonist feels pulled in a direction different from that assigned to his life.  Questioning his reality, he embarks on his own adventures despite his mandated mundane role in society.  Musically, after the metallic riff has done its business, Neil Peart takes the spotlight a moment as the song shifts.  Geddy lays down the heavy bottom end while Alex strikes hither and yon with lightning-like licks.  Clearly a classic in the making.

“Caravan”, the final album opener, sounds pretty much the same as the record.  It establishes the setting, “in a world lit only by fire…”  The riff is a major feature, a deliberate, descending rock monster that feels just right in the guts.  The lyrics paint a picture of a steampunk world, half explored, with alchemy and ancient knowledge.

Clockwork Angels wound up as one of the greatest final albums by any band anywhere any time.  This single is a nice add-on, a reminder of the long careful gestation period that created a masterpiece.

4.5/5 stars

REVIEW: KISS – Off the Soundboard – Des Moines 11.29.1977 (2022)

– Off the Soundboard – Des Moines November 29 1977 (2022 Universal)

We are now at the fourth Off the Soundboard series release from Kiss, and this is the most hyped yet.  It’s the second original lineup release in the series, but the first from the classic era.  This time we travel back with Ace, Peter, Gene and Paul to the Alive II tour.  Arguably the pinnacle before things began to slowly crumble, this Alive II show is unsurprisingly loaded with Kiss firepower.  However, with only one CD, it’s the shortest in the series so far.  It does appear to include everything they played that night.

Opening with the brand new “I Stole Your Love”, Kiss truly were on fire.  Playing fast, tight and enthused, this is the Kiss of legend, the Kiss we have heard stories of!  Unaltered Kiss live in their prime!  The sound is, as expected, bootleggy, but pretty solid considering it’s 45 years old.  Paul’s vocals are so good they can bring a tear to your eye, remembering the Starchild when he was bulletproof.

“King of the Night Time World”, still second in the set, benefits from Peter Criss’ trademark pitter-patter.  Ace is a bit shrill at the beginning, but it’s 1977 technology.  Star Wars was brand new and the Space Ace was in his element.  He always harmonized well with Paul, which he does on “King”.  Paul then invites the girls to meet ’em in the “Ladies Room”, which means it’s Gene’s turn to sing.  Gene messed up some lyrics:  “You say you like to play, well, yes you play with me anyway.”  Or something like that.  Sounds like his bassline is also off.  Doesn’t matter, in fact that makes it even more cool.  A snapshot of a moment in time.  It’s all more of less buried in the glorious noise they call live rock and roll.  The crowd certainly didn’t care.

Paul tells them that Kiss had a good feelin’ about comin’ back to Iowa.  Temperature’s rising, so they gotta call out the “Firehouse”!  A lot faster than album and more like Kiss Alive!, this version of “Firehouse” is incendiary for all its energy and flaws.  The only misfire is Paul’s intro to “Love Gun” itself.  He’s certainly done better.  “When it comes to shootin’, we ain’t gonna miss!”  You just did, Paul!  Fortunately the song is just as kicking as ever, with Paul absolutely roaring.  This is the Kiss I remember growing up with.  Unstoppable energy.  The power remains high on “Let Me Go, Rock ‘N Roll”.  In a quaint blast from the past, Paul wants to see some lights in the crowd, some matches!  This is a song that always sounds best with Ace Frehley on lead guitar, and those who love the Spaceman will appreciate his fearless fretwork and signature technique all over it.

A chunky “Makin’ Love” is a set highlight, all riff and bass with Paul audibly jumping around haphazardly.  Peter is awesome on this.  “Christine Sixteen” is a bit clunky and awkward, as is Paul’s intro.  The less said the better.  “Christine Sixteen” falls into place on the chorus.  Their vocals here are an excellent example of Kiss’ ability to actually sing.  Then the moment you have been waiting for:  Paul says they got a surprise, and Ace Frehley’s gonna do “Shock Me”.  This version of “Shock Me” is up there with the better ones and of course Ace gets his big solo at the end.  It’s not just the Alive II solo, it’s a different beast and by the middle, Ace gets his Les Paul roaring.

The gentle intro of “I Want You” is just a feint, we all know that the song absolutely slams.  Ace’s guitar stings on the verses, and he gets to take an extra solo at the end just before Paul goes into his “I waaaa-aaa-aaaant!” tease with the crowd.  Then he queries whether everybody’s ready to take their medicine?  It’s time to call out “Dr. Love” and Gene is loving it.  “Shout It Out Loud” follows, at a fast tempo similar to its Alive II rendition.  The vocals are better though; you can really hear Peter Criss in the back.  His drumwork is manic too.  Great rendition of “Shout It Out Loud” and one of the best on CD.

Gene’s bass solo precedes “God of Thunder”.  It’s noise; just bass through a digital processor. Skippable noise.  “God of Thunder” itself is much better, containing a Gene/Peter groove that doesn’t always fall right into the pocket like this one does.  Then the Catman gets his drum solo, which is better and longer than the Alive II rendition.  (Gene’s vocals are also better, way more aggressive.)

“Rock and Roll all Nite” is the last song of the main set, the rock and roll national anthem according to Paul.  Like many of the songs, it’s faster too.  Very cool to hear both Ace and Peter on backing vocals quite clearly.  The Spaceman’s solo is sloppy stuttery greatness, and it’s hard not to enjoy this song that we already have live in dozens of incarnations.

Onto the encores:  “Detroit”, of course “Beth”, and the finale “Black Diamond”.  “Detroit” opens with a mistake and Kiss quickly recover, driving the thing into oncoming traffic with a reckless devil-may-care attitude.  By this point in the show, Kiss are playing on adrenaline and missing some of the parts.  Which is half the thrill.  As for “Beth”:  it’s “Beth”.  No more no less, though there is a lot of tape noise.  Peter’s vocals are so-so.  He struggles when he has to be tender, but he blasts on “Black Diamond”, which oddly opens with full band introductions which you rarely hear at a Kiss concert.  Paul gets a spotlight moment to play around with the “Black Diamond” intro on guitar before he starts singing.  Pound for pound, this is one of the best versions of “Black Diamond” by the original lineup out there.  From the vocals to the Ace soloing, to the explosive outro, this is one of the best renditions hands down.

Now that the vaults have been opened and we’re getting classic shows from the original lineup, the sky’s the limit what could come next.  This is the best one so far.  Let’s hope for an Eric Carr show soon.

4.5/5 stars

 

REVIEW: KISS – Off the Soundboard – Live at Donington August 17, 1996 (2022)

 – Off the Soundboard – Live at Donington (Monsters of Rock) (August 17, 1996 – 2022 Universal)

Third in the Off the Soundboard series, and we are gifted an original lineup show.  Reunion era, we add with a caveat, but an original lineup gig nonetheless.  This was a big one:  Monsters of Rock in 1996.  This gig is only 11 days after the Toronto show at which I saw Kiss, and the setlist is simply a shortened version of what we saw earlier.

Opening with “Deuce”, the reunited Kiss don’t sound vintage, but they do sound professional and hot.  The immediately noticeable flaw in the mix is an overly prominent bass.  Demon fans might love it!  Frehley’s guitar brings that almost-out-of-control quality that we miss today.

The simplicity of the drumwork on “King of the Night Time World” reminds us that the Catman Peter Criss is back on drums.  That’s all good.  After hearing Eric Singer on the past two instalments of this series, the Catman’s looser feel is refreshing.

Then an F-bomb from Paul:  “WOOO!  How you doin’ Donington!  You all ready to get a little fuckin’ nuts tonight?  You want a little rock and roll?”  Then it’s “Do You Love Me”, not usually one of those songs you go fuckin’ nuts on, due to its deliberate tempo.  I could usually skip it, but this version is pretty good.  That overloud bass makes it a bit heavier.  The backing vocals are also quite good.  “Dr. Love” has that patented Peter Criss pitter-patter on the drums that we can all admit we miss.

The Starchild seems to have a blast singing the word “Donington” over and over again just before “Cold Gin”.  Gotta admit this is a great album for Paul’s stage raps!  It’s Ace’s turn to shine, in that overdriven, on-the-edge style that nobody can copy.  It’s like chocolate it’s so good.  The Space Ace gets to sing a verse on his own, which is a perfect touch.  An album highlight.  Perhaps the best live version of “Cold Gin” available since the original Alive!

The original Kiss tear into “Let Me Go, Rock ‘N Roll” and Gene’s voice is a bit rough at first…as it should be, 100% live.  There’s nothing like this song with Ace and Peter on drums.  Again, perhaps the best live version since the original Alive!  “Shout It Out Loud” is a bit more polished.  But if you want heavy, look no further than the thunderous “Watchin’ You”.  The vintage Kiss vibe is captured as they thump through this in a completely different way than they did four years earlier on Alive III with Bruce Kulick.  Another contender for best live version available since Alive!  Previously that honour went to the Alive III version.  Simmons is, pun intended, a monster on both tasty bass fills and meaty vocals.

“Firehouse” is simple fun, but once again, the Space Ace adds something that other guitar players do not have, which is nothing against any of them.  It is a matter of style, and the style that suits Kiss best.

Kiss turns the microphone over to Ace Frehley on “Shock Me”, which also doubles as his feature guitar solo.  You can hear every mistake, and even they are perfect in their own, flawed diamond sort of way.  This solo is pure smoke and fire, like a meteorite barrelling through atmosphere.  Perhaps the best stage version of “Shock Me” out there, arguably surpassing Alive II.

Over to disc two, it’s finally time for “Strutter”.  Paul’s stage rap is amusing if only because he says Kiss are having such a great time back together that they don’t know if it’s ever going to end.  Ah, hindsight.  This is a fantastic version only hampered by that overloud bass in the mix.  Vocals are outstanding.

Simmons takes center stage for his “bass solo” and “God of Thunder”.  A Simmons bass solo usually works best as a visual, not musical experience.  (Animalize Live bass solo notwithstanding.)  While you don’t necessarily want this stuff edited out of a live bootleg, it’s basically waiting for the song to start.  Gene is extra-growly on “God of Thunder” and Frehley is hotter than hell.  Stanley’s prominent backing vocals add an extra dimension.  And Peter’s got that beat nailed down like a beast.  He gets his drum solo on this track, a slow and tribal experience similar to, but not as energetic as, his Kiss Alive solo.

When Paul starts talking about size of his pistol, then you know it’s time for “Love Gun”.  Drowning in bass, but fiery hot.  Speaking of bass, “100,000 Years” is top notch too.  Do you feel alriiiiight?  Frehley’s soloing on the track is an essential ingredient.  The closing trio of “Black Diamond”, “Detroit Rock City” and “Rock and Roll all Nite” are somewhat predictable, but it’s bizarre that we had to wait this long to hear Peter Criss sing lead on something.  As for “Detroit”, easily one of the top five live versions on official release.

This set is pure electric vintage Kiss from 1974-1977, and nothing beyond.  No “New York Groove”, no “I Was Made For Lovin’ You”.  No “Beth” either.  If you’re going to cut a track for time for the festival, “Beth” is one to cut.  Though sometimes hampered by the bass heavy mix, it is possible that Live At Donington is the best Kiss live album since Alive II.  The reunited lineup were certainly a lot better than I remember them being back in 1996, when I thought they sounded stiff.  With hindsight, though Peter is steadier than before, Frehley still provides all that danger that is necessary in a live Kiss show.  At Donington, the original Kiss brought it.

4.5/5 stars

 

 

REVIEW: The Forrest Williams Democracy – “In Service of the Greater Good” (2022 single)

THE FORREST WILLIAMS DEMOCRACY – “In Service of the Greater Good” (2022 single)

Anybody who ever dug Big Wreck (and there are lots of you) should be checking out The Forrest Williams Democracy.  Williams was the drummer on the first two essential Wreck albums with the original lineup.  After the band dissolved in 2002, Williams settled down into a family life.  Rock and roll always beckons again, and in this case it came in the form of musician Scott Maybee.  Together with original Big Wreck producer Matt DeMatteo, the new song “In Service of the Greater Good” was released twenty years after the original Big Wreck ended.  So whatsit sound like?

The Forrest Williams Democracy has an uncanny knack for a Soundgarden aura, circa Badmotorfinger and Superunknown.  A lot of that has to do with the vocals (shared between Maybee and DeMatteo).  Powerful with range, but also subtlety.  The riffs (and there are a few!) are heavy.  And as for the drums?  If you listen to this and the first Big Wreck, you can hear that it’s the same guy.  The style, and the thump, remains.  “In Service of the Greater Good” is a complex, multi-faceted heavy rocker, but also with the acoustics and added textures that you would hope for.  Sabbath and Zeppelin are named as influences and you can hear both seeping through the speakers.  You can sense the Bonham influence on Williams, but the Zeppelin also comes out clearly in acoustic sections.  Meanwhile the lead guitar work would make Iommi smile.

“In Service of the Greater Good” is more than just the influences.  There’s a lot going on here — some serious musical ambition.  There was clearly no intent to just write some rock song for the summer.  This is impressive stuff.  The vocals are outstanding.  The musically-inclined will enjoy all the changes and tempos, while the rest of us can just pump our fists when the heavy parts come!  Great tune that has the feeling of an album side-ending closer epic.  We hope an album will follow.

In the meantime, you can check out the Forrest Williams Democracy on Spotify, iTunes, Amazon and Bandcamp.  They also have shirts for sale.  Hope more is coming.

4/5 stars

RE-REVIEW: Def Leppard – “C’Mon C’Mon”(2008 12” picture single)

Part Thirty-Five of the Def Leppard Review Series

Original Review:  “C’Mon C’Mon” (2008 12″ picture single)

DEF LEPPARD – “C’Mon C’Mon” (2008 12″ Mercury picture single)

We haven’t reviewed many actual Def Leppard singles in this review series.  Why?  Because we reviewed the CD Collection box sets in detail instead, which do an excellent job of collecting all the albums and B-sides from specific eras.  This picture disc for “C’Mon C’Mon” from Songs From the Sparkle Lounge is one single for which the B-side has yet to be issued in box set form.

The B-side in question is a live version of “Rocket” from an unknown place and time.  What we do know is this:  It’s not a pipsqueak edit version from a live album.  This is a full-on 10 minute recording with all the extended bells and whistles.

Opening with the usual backwards vocals (“We’re fighting for the gods of war” in reverse), “Rocket” is a Rick Allen vehicle.  It’s endurance.  The drums are a main feature, but Screamin’ Joe Elliott doesn’t take a back seat to anyone.  Still, by the 3:30 mark it’s the Rick Allen show.  Soon he’s accompanied by Rick Savage on bass, before the guitar solos begin.  Phil Collen goes first followed by Vivian Campbell, in a call & response series of licks.  Together the two weave notes and squeals into a tapestry of cool, with Vivian going full metal into speed and tapping.

Around 7:50, Joe surprises the crowd by going into “Whole Lotta Love”.  “You need coolin’, baby I ain’t foolin’,” with guitars that replicate what Jimmy Page might have done had he been on stage that night.  Back into “Rocket” for the finale, the whole thing works from start to finish as if it wasn’t 10 minutes long but maybe half that.  A valuable B-side for your collection, just spectacular stuff.

The A-side is hit or miss.  “C’Mon C’Mon” was in the vein of that “Pour Some Sugar” sound, ultimately derived from Gary Glitter.   It’s…well, to overuse a phrase, “it is what it is”.  Def Leppard are always going to have this kind of song in their repertoire.  It’s not bad, just nothing new.  Performance-wise, Rick Allen is once again a champion.  The guitars have a really sweet crunch.  It’s a great sounding single, just an unnecessary direction to keep toiling away at.

3.5/5 stars

Next:  Leppard goes country with…yes, we’re at that point now…with Taylor Swift.

Previous:  

  1. The Early Years Disc One – On Through the Night 
  2. The Early Years Disc Two – High N’ Dry
  3. The Early Years Disc Three – When The Walls Came Tumbling Down: Live at the New Theater Oxford – 1980
  4. The Early Years Disc Four – Too Many Jitterbugs – EP, singles & unreleased
  5. The Early Years Disc 5 – Raw – Early BBC Recordings 
  6. The Early Years 79-81 (Summary)
  7. Pyromania
  8. Pyromania Live – L.A. Forum, 11 September 1983
  9. Hysteria
  10. Soundtrack From the Video Historia – Record Store Tales
  11. In The Round In Your Face DVD
  12. “Let’s Get Rocked” – The Wait for Adrenalize – Record Store Tales
  13. Adrenalize
  14. Live at the Freddie Mercury Tribute Concert
  15. Retro-Active
  16. Visualize
  17. Vault: Def Leppard’s Greatest Hits / Limited Edition Live CD
  18. Video Archive
  19. “Slang” CD single
  20. Slang
  21. I Got A Bad Feeling About This: Euphoria – Record Store Tales
  22. Euphoria
  23. Rarities 2
  24. Rarities 3
  25. Rarities 4
  26. Cybernauts – Live
  27. Cybernauts – The Further Adventures of the Cybernauts (bonus disc)
  28. X
  29. Best Of (UK)
  30. Rock Of Ages: The Definitive Collection
  31. Yeah!
  32. Yeah! Bonus CD With Backstage Interviews
  33. Yeah…Nah! – Record Store Tales
  34. Songs From the Sparkle Lounge

Next:

36. CMT Crossroads (DVD with Taylor Swift)
37. B-Sides
38. Yeah! II
39. Yeah! Live
40. Mirror Ball – Live & More (Japanese import)
41. iTunes re-recordings

REVIEW: KISS – Off the Soundboard – Virginia Beach 2004 (2022)

 – Off the Soundboard – Live in Virginia Beach (July 25, 2004 – 2022 Universal)

Some might question the logic of releasing a 2004 live release with the Stanley/Singer/Simmons/Thayer lineup in the official Kiss bootleg series.  Necessary?  We already have live material from this lineup, such as Kiss Rocks Vegas.  Fans could be forgiven for skipping this, the second instalment of the Off the Soundboard series of releases.  (It’s a little late now, but it would have been cool if Kiss numbered these releases!)

Opening with a sluggish sounding “Love Gun”, Paul Stanley is in good voice.  The cracks were beginning to show but there is no comparison to the Paul of today.  If you want vintage Paul, this is not the album for you.  If you want Paul before things went to hell, this is just fine.  Gene goes second with “Deuce”, also sounding a big sluggish.  Eric Singer is busy on drums, which will be either to your taste, or not.

It’s Tommy Thayer who fails to thrill in the night.  Something about his solo work here just falls short of lighting the spark.  It’s one of those things that’s not quite right, on the quantum level.  Your brain knows the solos, knows how they usually sound, and that’s with fire and a touch of reckless abandon.  Say what you will about Tommy Thayer, but nobody uses the word “reckless” to describe his playing.  Ace Frehley, on the other hand, had a song called “Reckless”.  You see where we’re going here.  It’s that touch of professionalism that these solos don’t need.  Tommy is welcome on backing vocals, where he helps thicken things up with Eric, such as on “Lick It Up”.

There are a few tracks here that are played live less often, which is one reason to pick up the disc.  “Makin’ Love”, “Tears Are Falling”, “Got to Choose”, “God Gave Rock and Roll to You” and “Unholy” are fun when you get ’em, though “Unholy” always sounds a bit awkward live (Thayer butchers the solo).  One of the best of these tunes is “Got to Choose” which benefits from the backing vocals of the newer Kiss guys.  Creepy as it may be, “Christine Sixteen” is always fun, but Gene doesn’t need to keep augmenting the song with things like “I like it!”  And check out the sly Mott the Hoople melody in “God Gave Rock and Roll to You”!

We could all probably do without “I Love It Loud” at this point.  “War Machine” can be tiring.  As much as we love Eric Singer, he does overplay some songs.  “Shout it Out Loud” has a few fills that just don’t need to be there.  Yet somehow, “Psycho Circus” is refreshing and “King of the Night Time World” is never a bad thing.

There are two lengthy “jammers” on this album that make for good listenin’.  “100,000 Years” and “She” both steam on with the familiar Kiss instrumental bits that you know and love.  “Do you feel alriiiiiight?” screams Paul, and damn, he could still really sing.  Vocally, Kiss were really good at this stage.  Gene was kickin’ ass, Eric and Tommy were the solid backing, and Paul was still 90% there.

This lineup hadn’t been together long, and the members sound more comfortable in their roles today.  You won’t be reaching for Virginia Beach 2004 often when you reach for a live Kiss album.  It’s a good setlist for the most part though, and it’s good to have for that reason.  The sonics are also pretty decent, though obviously short of live album standards.  It’s an official bootleg, not Alive XIII.  You can hear every flaw and mistake, and that’s a good thing.  When you listen understanding that this is indeed 100% live, with Paul Stanley jumping around and his guitar banging erratically, then you realize, shit, Kiss are a pretty damn good live band!  A lot of the set sounds like the billionth time they’ve played the songs…but they don’t sound bored doing it.  There’s not a lot of that looseness, but plenty of excitement.

3.5/5 stars

 

RE-REVIEW: Def Leppard – Songs From the Sparkle Lounge (2008)

Part Thirty-Four of the Def Leppard Review Series

Original Review:  Songs From the Sparkle Lounge (2008)

DEF LEPPARD – Songs From the Sparkle Lounge (CD Collection Volume 3 Disc 3) (Originally 2008, 2021 remaster)

Finally!  Three misfires in a row (Euphoria, X, Yeah!) and Def Leppard finally had a new album that rocked and was worth listening to again.  While imperfect, the badly-titled new album Songs From the Sparkle Lounge really felt like an actual effort this time.  With the exception of one credit on one song, everything here was written by Def Leppard and only Def Leppard.  And — hallelujah! — no ballads.  What a refreshing turn of events.  A lot of the album was written and recorded on tour.  It seemed like Def Leppard were really listening to the fans who said “We’re tired of pop and ballads.  Please, write us a rock record again like you used to.”

We mostly got it.

Of course, in the press Leppard exaggerated as they often did, comparing the album to High ‘N’ Dry, AC/DC, and Led Zeppelin.  And so, the fans knew not to get their hopes up too high.  The album rocked, but not like that.  The standard version of Sparkle Lounge was a tight eleven tracks, just under 40 minutes.  No bloat.  But let’s get to the elephant in the room first.

When discussing this album, dissenters often point to track 2, the first single “Nine Lives” as the main offender.  As a collaboration with Tim McGraw, it reeks of terrible offences committed by Bon Jovi earlier in the decade.  In order to find new success, too many rock bands went to Nashville for fresh names and influences.  Fortunately, Japanese fans were able to buy a version of the album including the song without Tim McGraw, and just Joe Elliott ripping the lead vocals.  That is definitely a preferred experience.  McGraw’s voice makes it sound…not like Def Leppard!  The two worlds simply do not mesh.  Fortunately “Nine Lives” is not a country song, but a hard rocker with a slight twang in the electric guitars.  It’s actually a pretty good song, when you edit Tim out.  So there’s that.

However, opening Songs From the Sparkle Lounge is a song you can only describe as “real” Def Leppard!  Combining the loopy vibe of the Slang era with the riffiness of Pyromania, “Go” is out of the gates on the right note.  It slams.  Heavy, modern, guitar-heavy and hooky without pandering to trends.  It merely combines some of Leppard’s best and heaviest ingredients in a modern way.  The only critique would be the title.  “Go” is a word that Leppard overuse.  “Go”, “Let’s Go”, “Gotta Let It Go”, “Let It Go”…just too much “going” on!

After “Go”, you have to sit through the Tim McGraw song before we’re back to tunes with integrity.  The glam rock “C’Mon C’Mon” was in the vein of that “Pour Some Sugar” sound, ultimately derived from Gary Glitter.   It too was a single (to be discussed next time) and sits comfortably in the Hysteria-style box.  Not exactly like AC/DC and Led Zeppelin as Joe claimed, but not a bad track if a bit too much like a sequel.

“Love” written by Rick Savage was an important tune and surprisingly the longest at 4:17.  It’s the one that they called “not a ballad” and you can get where they were coming from.  Yes there’s a soft acoustic intro but the song is bigger and more dramatic than the average ballad.  A big heavy chunky section rises towards the end.  The acoustic version on the Japanese release could fairly be pigeonholed as a ballad, but the standard album cut it more like Leppard meets Queen.  Freddie and the boys seem to be the biggest influence on “Love”, especially vocally.

Phil Collen wrote “Tomorrow” which is one of the most pop of the tunes, sort of in an Adrenalize mold.  The chorus is solid and there’s a nice guitar part to bite into.  Not a highlight but not a throwaway.  Just a good hard rock tune that sounds great in the car come chorus time.

Vivian Campbell contributed the low groove of “Cruise Control”, whose bassline is the main feature, rolling and churning beneath the song.  Interesting tune with some truly great and adventurous guitar playing from Viv.  Playing for feel and not speed.  But the band reverts to their standard form again on the uptempo rocker “Hallucinate”.  Though the hooks sound like you’ve heard ’em all before, they’re all welcome to return on this great track.

Another solid song, “Only the Good Die Young”, boasts some mellotron that always seems to recall the Beatles.  Not a constituent part of the average Def Leppard rocker, but an enhancement that works well here.  Joe ever references a “diamond in the sky” so it’s probably not coincidence.  A good tune made better by stepping just slightly outside the box without destroying the box.

Joe’s “Bad Actress” is by far the hardest rocker on the album, going full speed ahead to a place that Leppard had not gone in many years.  Pure heavy and reckless rock, pedal to the metal, just givin’ ‘er as much as there is in the gas tank.  This, yes this, is what fans had been begging for!  Something that really drives but still sounds like Def Leppard.  Something that wouldn’t have sounded too out of place in the early years.  Finally, we got “Bad Actress” out of them!

The penultimate track “Come Undone” slows it back down to a deliberate 90s pace.  Decent album track, but might have been considered filler in an earlier age.  Unfortunately, it’s just one of those easy to forget second-last album tracks.

Fortunately, Leppard saved the best track for last:  “Gotta Let It Go”, which rocks so hard on the chorus that it might just rip your head off.  This Vivian contribution opens with deceivingly soft drum programs before absolutely exploding on the epic chorus.  It’s a brilliant slice of songwriting from the Irish rock wizard, and the way the lead and backing vocals overlap on the chorus is just the kind of thing Def Leppard do so exceptionally well.  An absolute triumph that leaves a sweet taste in the mouth when the album is complete.  This kind of closer invites repeat listens.

Sparkle Lounge ends as it began:  rocking.

Fortunately for Def Leppard, a young American fan of both them and Tim McGraw was hitting brand new heights in her fresh solo career.  At just 19 years old, she was born while Def Leppard were still the biggest rock band in the universe.  So, leaning even further into country music, Def Leppard would gain a lot of attention from a new younger crowd thanks to their big fan Taylor Swift.  It seemed a strange move for Leppard to make while they were just starting to rock again, but we’ll discuss the Swift collaboration in a future instalment.

Though Songs From the Sparkle Lounge does contain some fillers and some cuts that fail to stick in the memory, there are no outright “deletes” except arguably the McGraw track.  It doesn’t even fit with the vibe of the album.  The Leppard version should have been in the main album sequence, with the McGraw version as a bonus track and single in special markets.  Guaranteed, this album would be better remembered if that was the case.

3.5/5 stars

Previous:  

  1. The Early Years Disc One – On Through the Night 
  2. The Early Years Disc Two – High N’ Dry
  3. The Early Years Disc Three – When The Walls Came Tumbling Down: Live at the New Theater Oxford – 1980
  4. The Early Years Disc Four – Too Many Jitterbugs – EP, singles & unreleased
  5. The Early Years Disc 5 – Raw – Early BBC Recordings 
  6. The Early Years 79-81 (Summary)
  7. Pyromania
  8. Pyromania Live – L.A. Forum, 11 September 1983
  9. Hysteria
  10. Soundtrack From the Video Historia – Record Store Tales
  11. In The Round In Your Face DVD
  12. “Let’s Get Rocked” – The Wait for Adrenalize – Record Store Tales
  13. Adrenalize
  14. Live at the Freddie Mercury Tribute Concert
  15. Retro-Active
  16. Visualize
  17. Vault: Def Leppard’s Greatest Hits / Limited Edition Live CD
  18. Video Archive
  19. “Slang” CD single
  20. Slang
  21. I Got A Bad Feeling About This: Euphoria – Record Store Tales
  22. Euphoria
  23. Rarities 2
  24. Rarities 3
  25. Rarities 4
  26. Cybernauts – Live
  27. Cybernauts – The Further Adventures of the Cybernauts (bonus disc)
  28. X
  29. Best Of (UK)
  30. Rock Of Ages: The Definitive Collection
  31. Yeah!
  32. Yeah! Bonus CD With Backstage Interviews
  33. Yeah…Nah! – Record Store Tales

Next:

35. “C’Mon C’Mon” (12″ picture disc)
36. CMT Crossroads (DVD with Taylor Swift)
37. B-Sides
38. Yeah! II
39. Yeah! Live
40. Mirror Ball – Live & More (Japanese import)
41. iTunes re-recordings