GETTING MORE TALE #799: Mix CD 10 – “I’m So Bad Baby I Don’t Care” (2003)
Welcome back to an informal series of stories on the subject of musical rediscovery! It is a blast listening to mix CDs (or tapes) that you made ages ago. To get you caught up, you can check out the below if you so choose!
This is one I have been looking forward to, for a couple reasons. One, I love the cover artwork. I recently reconnected with an old friend from the UK named RooRaaah. He drew this rabbit, “Rab C. Rabbit”, and I always thought the crude sketch was hilarious. If I hadn’t used it on my 10th mix CD, I might have lost it forever.
The second reason is that I burned this CD in the aftermath of dating Elli, as told in Record Store Tales Part 15: Dating a Radio Station Girl. I was seeking all sorts of music, from heavy and angry to soft and soothing. There’s a healthy dose of nostalgia, as I knew I could always return there to fill the holes in my heart. There are even some rarities here, the kind of things you found by browsing Limewire.
As usual, I opened with a comedy bit: Trey Parker and Matt Stone yelling “Dude!” at each other, from the movie Baseketball. “I guess you’ve got a point there.” Then straight into the brand new Anthrax: “Safe Home”. We’ve Come For You All was fresh and this song captured part of how I felt. “My whole world has moved on.” It was a strong, albeit mainstream single for the thrash pioneers, and one that still holds up.
From there to full-on nostalgia: “Mr. Roboto”! Wow, she must have really done a number on my heart to make me go all the way back there, the first rock record I ever bought. At this point in my history, I lost my original LP copy and hadn’t yet got one on CD since it was so hard to find. Hence the Limewire download. A co-worker picked up the Styx CD for me in Toronto a year or two later. Then, first of three Motorhead tracks is a wakeup: “I’m So Bad Baby I Don’t Care”. I was definitely pissed off! But then it’s onto the Faces classic “Ooh La La”, a taste for which was acquired by repeated viewings of Rushmore.
Albums and artists tend to repeat on this CD. Even certain songs repeat! Jellyfish’s excellent “The Ghost at Number One” is the first of two appearances. I can taste the nostalgia, as I retreated to a simpler time, sitting in front of the TV watching music videos on Much. I always appreciated the Beatles-esque track, which I haven’t heard in years. Back to the 80s again, and the Gowan classic “A Criminal Mind”. Comfortable MuchMusic memories in the basement. A dark, plaintive song that spoke to me. “And you will never break me, till the day I die.”
Motorhead’s “R.A.M.O.N.E.S.” reflects a fresh appreciation for punk rock in my post-Elli haze. You could thrash out to it and just rock the frustrations till they were gone. This song will lift you up no matter how deep the hole. A real weird rarity follows this, a Limewire discovery: Mike Patton & Dillinger Escape Plan covering Justin Timberlake’s “Like I Love You”. And they fucking kill it, too! Just a bootleg, but good enough for a mix CD.
Back to the movie Rushmore. One of the most impressive tracks in that movie is the Live At Leeds version of “A Quick One (While He’s Away)” by The Who. Once a co-worker told me exactly what that song was (from expanded edition of Live at Leeds), I grabbed it (before buying the CD later on) from Limewire. The track is an utter marvel, and I maintain the live version is the superior one. I couldn’t believe it was actually live! It’s as clean as a studio cut with perfect harmonies, but with explosive live energy. It’s my favourite Who song, hands down. It’s the kind of song that made me feel smug, like “Yes, I have fucking great taste in music.”
The first repeat band (and song) is “The Ghost at Number One”, this time live. Jellyfish’s immaculate live version is tight as a drum. Then, a magnificent double repeat: Styx, now with Lawrence Gowan on lead vocals, with “A Criminal Mind”! And not just “A Criminal Mind”, no; live in Kitchener Ontario, this one! It’s cool that James “JY” Young threw down that wicked guitar solo right across town. So this one is special to me no matter how you slice it. The centerpiece of the CD, perhaps.
Don’t read anything into “Crabsody” by AC/DC being on this CD. It’s not on any of the US albums, so I downloaded it when I searched for “rare AC/DC” on Limewire. (Strictly a novelty song, incidentally and not a lost AC/DC classic.) You can definitely read “nostalgia” into the next track. Back to 1981 (Jesus!) and “Believe It Or Not” by Joey Scarbury. And I clearly went for the most mangled transition I could manage, since the very next song is “Chinese Arithmetic” by a Patton-fronted Faith No More (second appearance for Mike). The track opens with Patton announcing, “The word of the day is…fuck.” Which he then repeats a few times, before seguing into “Vogue” (as they often did).
Finally it’s back to Gowan again, and “Strange Animal” (featuring Tony Levin on the Chapman Stick). The rhythm that Levin lays down is a beast! Even in shitty Limewire quality, this song moves. Motorhead make their final appearance on the war ballad “1916”, a song which I found real affecting at that time. I got the album as soon as possible.
Ending the CD (sort of) is CKY, whose only real claim to fame is an attachment to the Jackass guys via Bam Margera’s brother Jess. The details are lost to me now, but I would have heard this song either a) on a Margera DVD or b) on a mix CD played in store. It’s a good little ballad circa the millenium, and it suited my grey heart. It’s been years since I last played it, and I can hear what I liked in it. Thank God I’m not that sad sack o’ shit anymore, though.
The real final track is just a coda, a preview of the new Metallica song “Frantic” via a show called MTV Icon. Remember, when they paid tribute to Metallica and had Snoop up there doing his thang to “Sad But True”? Well Metallica closed the show with their own song, and then I guess the credits must have rolled or something, because this thing just fades out before James can even deliver one “Fran-tic-tic-tic-tic-tock!”
I put some effort into typing out an interesting looking tracklist on the back, and Rab C. Rabbit looks fab on the front. I even glued the two together to make the insert. Here’s the funny thing though. I guess I must have needed a case to put this CD in, so I swapped out one from a local band called Vacuity, and threw their CD in the trash. The vacuity.net sticker is still on the back. This is funny, because one of the guys from Vacuity worked at the Record Store, and, well, he really wanted me to like his band. When he and store parted ways, I parted with the CD! Dick move, I know, but he was kinda a dick.
I think this my mix deserves:
GETTING MORE TALE #719: Mystery Disc
Cleaning out Jen’s mom’s house after she passed away was very emotional work. Nobody’s been living there since July. One day she got up and broke her hip. We didn’t know it yet but the cancer was in her bones. She never came home again. When we started working on the house in September, everything was more or less how she left it.
Her music collection was small with a few gems. One disc that I kept was Cat Stevens’ Icon. I had to take it for “If You Want to Sing Out, Sing Out.” As told in Getting More Tale #702, that song seemed to make a connection with me when she was sick. One day we went to see her in the hospital, and she was unconscious. No longer able to communicate. That song was stuck in my head for reasons I can’t explain. I like to think she was sending me a message. Not to be sad. It would have been like her to say that to me. I get tears in my eyes thinking about her lying there dying, and that song playing on repeat in my head. I had the song played at her funeral. It just seemed like such a “mum” song, even though I have no memories of us ever listening to it together. When I found out that she actually owned that song, I got the chills again. Finding Cat Stevens made my heart swell.
We also found a number of CD-Rs that I made, but had no labels or covers. For today’s chapter I’m focusing on one specifically. I can’t figure out why I made it, or who I made it for, or what it was doing at Jen’s mom’s house!
It is a lightscribe CD, and burned into the top is the old background from my website. It’s a photo of some model guitars and guitar picks. The 15 song track listing is most bizarre and I can’t figure out what I was doing!
Track 1: Craig Fee saying “LeBraaaain”. This dates the CD to 2012 at the earliest. I liked to introduce my CDs with something amusing, so this works.
Tracks 2-4: “Whiskey in the Jar”. The first is Metallica’s studio cover from Garage Inc. The second is Thin Lizzy’s take from 1972. Last is a live Metallica version, possibly from the CD single. That’s a lot of whiskey – 15 solid minutes worth. Listening back, the Metallica live version absolutely kills their studio cut. Yeah-hah!
Track 5: Steve Earle – “Home to Houston”. This track is from Steve’s political 2004 album The Revolution Starts Now. I haven’t played that album in years and I don’t remember this song. Why it stuck out enough to put it on this mystery disc, I haven’t a clue. Good tune, but I don’t know it anymore!
Track 6: Jeff Bridges & Colin Ferrel – “Fallin’ & Flyin'” from the 2010 soundtrack Crazy Heart. Now, memories are starting to form. I can remember driving around with Jen and her mom, listening to this song in my car. Did I make this CD for her mom? If so, why the Metallica?
Track 7: Johnny Cash – “The Man Comes Around”. One of the greatest Cash songs, from the best American album in my opinion. Goosebumps, still to this day. Jen and I love Cash and had him played at our wedding.
Track 8: Me doing a song intro! The backing track sounds like Motorhead’s acoustic version of “Ace of Spades” with the main lick looped and no vocals. I made this for a past Sausagefest countdown! The track I’m introducing: “Renegade” by Styx! I mention that it was covered by Daughtry and then add sound effects of Nicko McBrain burping and farting. I have to admit it’s a pretty great (and funny) intro! It was #30 on the 2013 countdown. From that I can now assume I made this CD the same year. Which is strange because I wasn’t really making mix CDs anymore in 2013.
Track 9 is a personal favourite, “Rock An’ Roll Angels” from Whitesnake’s 1982 album Saints & Sinners. I’ve always been into rock and roll songs with boogie woogie piano. I have loved this song for three decades. Then Track 10, another Whitesnake classic: “Slow An’ Easy” from the landmark classic Slide It In. That’s another personal fave, because of the slide riff. It’s incredible and I spent many hours as a teenager playing air slide to it. Not to mention air drums! Cozy Powell was so fucking cool.
Then more slide! Track 11: The Black Crowes – “Twice as Hard”. I was clearly trying to make the CD flow. Indeed I used to spend hours shuffling track order until I had it “just right”. With all this slide business going on, I wonder if the next song is going to be some “Travelling Riverside Blues”?
Nope! A total surprise to me, Track 12 is The Tragically Hip! “50 Mission Cap” is Jen’s favourite, for reasons you’ll understand.
Bill Barilko disappeared that summer,
He was on a fishing trip.
The last goal he ever scored,
Won the Leafs the cup.
They didn’t win another till nineteen sixty two,
The year he was discovered.
I stole this from a hockey card,
I keep tucked up under.
I think the lyrics are brilliant because they tell two stories at once. First, they tell the true tale of Toronto Maple Leaf Bill Barilko, who tragically died in a plane crash in a remote part of Quebec. Nobody knew what happened to him until his body was found 11 years later. The second tale is that of a young Gord Downie who read about it on the back of a hockey card.
Track 13 is another surprise: “The Boys are Back in Town” by Bon Jovi! Don’t scoff, this is actually a really good Thin Lizzy cover from their New Jersey period. Lyrically, Jon and Phil Lynott were on similar wavelengths. This is exactly the kind of tune that Jon was writing. “Wild in the Streets” is Bon Jovi trying to re-write “The Boys are Back in Town”.
Track 14: “Big Foot” from Chickenfoot III. Gotta be one of my favourite car tunes. “Got Houses Of The Holy on the box, got it all cranked up cause, yeah! That shit rocks!” What a groove — you can’t help but stomp along. Joe Satriani has a way with a riff.
I had a guess that Track 15 was going to be all of side one of 2112. The track time was over 20 minutes, so I had an inkling it was either that or side two of Abbey Road. I’ve ended mix CDs with 20 minute epics before, and I think it works. The Beatles did it! Granted, the 2112 epic was a side one, but it still functions perfectly in the closing position. Try it yourself!
Listening to this mystery disc has been enjoyable, but my reasoning still escapes me. It’s such a bizarre mix, with the front loaded threesome of “Whiskey in the Jar”. From there it starts to make a little more sense. But how it did it end up at “mum’s” house?
My best theory is that I made it as a gift for Jen’s Uncle Rick, and it never got mailed. He lived in Texas at the time — maybe that’s why I included “Home to Houston”. Rick is also a Whitesnake fan, and a Toronto Maple Leafs fan. I’m just not sure.
How would you rate this mix CD if you were the recipient? I think I’d give it a solid:
WTF SEARCH TERMS XL: Lars Ulrich Trout (Thunder Bay) edition
It’s that time again…the 40th time in fact! It’s those “WTF” search terms that somehow brought people to this site. Let’s skip the chatter and get to the weird.
I had to ask Thunder Bay’s hardest rocker, Deke Dekerson, if he could possible explain this one. He had no idea. Warrant did open for Metallica in 1990, and our own Uncle Meat has written about it. There were no dates in Thunder Bay, and I don’t want to know what Lars was doing with a trout.
Well, I don’t know about that! He’s having no problem selling it. The only thing “stupid” about Vault is that there is no pricing affordable to regular people.
This is a great question!
You lost me.
Definitely in the “wishful thinking” category. There wasn’t really such thing as “tour editions” back in 1993, and sadly all you can get to this day is the standard single CD of Coverdale-Page.
I admire the amount of effort this person went to, to be as specific as possible.
I tuned out after reading “Liam Payne”. The fuck does he have to do with Def Leppard? I don’t care enough to look.
You came to the right place, friend! The one and only and original Record Store Tales can be found right here!
GETTING MORE TALE #594: St. Anger
As a half-Italian, part-German, part Scottish guy, I was born with a fuse. Sometimes that fuse can go off. Nothing makes me angrier than when my wife, who has epilepsy, is told to “fuck off” because of her need to be away from flashing lights. We’ve written extensively about epilepsy and our experiences, good and bad. We are very open about it, happy to answer questions and eager to educate. So when I hear that my wife had a seizure at the mall because of flashing lights and a guy who told her to “fuck off” and “stay indoors”, I feel like I could explode!
Here’s what happened. Our wedding anniversary is August 31. We had a nice dinner booked at Borealis, our favourite local eatery. Jennifer went out to the mall that afternoon to get some things we needed for the weekend. At the Walmart checkout, there was a child with those shoes that have flashing lights in the heels. I don’t understand the need for those shoes. At night, sure, I get it. In a brightly lit Walmart, they’re a hazard to people prone to seizures. An actual hazard as real as a slippery floor.
My wife asked the closest lady if that was her child. She said “No.” But it actually was her child. Jen covered her eyes as the kid danced around the checkout aisle with the flashing heels. She asked the lady to tell her when the flashing stopped so she could uncover her eyes. The lady said it stopped. She opened her eyes and the kid was still dancing and the shoes were still flashing. She covered her eyes again. She was getting upset. Suddenly the lady’s husband showed up out of nowhere and began berating my wife. He told her to “mind your own business”, that she should “fuck off”, and “stay indoors” if she had a problem with the shoes.
And so, she had a seizure in the checkout. She doesn’t remember anything after paying for her things. She remembers telling the cashier that she was probably going to have a seizure. The next thing she knew is that the paramedics were there and she was in an ambulance. I will give Walmart and the mall credit for being proactive about this. They know my wife (unfortunately from past seizures) and they have my phone number on file. They called me immediately.
I took Jen home and she had a good rest. We didn’t have our dinner out that night. But we had a great dinner in, and a lovely anniversary at home. We went out the following night instead.
Here’s the kick in the nuts. At the exact time I got that phone call from the mall about my wife, I read the story about how our friend Kenner Fee, who has autism, will not be allowed to bring his service dog to school. It was a painful one-two punch.
The anger simmered in me. I came home and keyboard-warriored my way around Facebook, to the ignorant trolls on the Kenner Fee threads. I wrote a few zingers, and before I knew it, two hours had gone by. But by the end, I wasn’t angry anymore. It might not have been the healthiest method of anger management.
I think there are two really healthy ways to let the anger out. They are music, and being physically active.
I like to kill two birds with one stone. My favourite thing is to put on something fast and heavy. Metallica works as a go-to. Testament, even Sabbath, they all work. Hit play, turn up the volume. Then I just fucking thrash. Air drums, air guitar, headbanging, whatever. Just physically moving with the tunes. Air drums work fantastic for this. Lipsynching helps. Or, sing along if you’re not too self-conscious.
“And I want my anger to be healthy” — Metallica
I remember when I was younger, there was this one girl named Tracy that I really liked. But she just kept me hanging along for months. One night she had a friend of hers crank call me, pretending to be somebody from my history class that liked me. I fell for it and got crushed. And I was pissed off.
The music that came in handy that time was Motley Crue. “Primal Scream” might have been their heaviest tune at the time. The lyrics were in sync too. “You just got to scream! And shout! Let that mother out!” And I believed that. Sometimes you do have to let that mother out.
Whatever you do, do it healthy! I recommend a solid soundtrack of heavy metal to go with it.
From Dream Theater’s acclaimed self-released series of covers albums, we have before us Master of Puppets. This was recorded in Barcelona back in 2002. Just as advertised, it’s Dream Theater doing the whole album live, in sequence, and pretty authentically too.
Dream Theater are a very different band from Metallica. This is bound to be interesting.
The most obvious difference is that Metallica have two guitar players, while Dream Theater has one and a keyboard player. On this, Jordan Rudess does aggressive keyboard solos where Kirk Hammett may have laid down one with his axe. He also plays the acoustic parts on keys. From time to time, you forget it’s a keyboard. In short, Rudess turns the prospect of Metallica with keyboards into a lesson on forgetting your assumptions about keyboards!
James LaBrie fits the silhouette of a young James Hetfield. He sings a convincing Metallica cover indeed! He cuts loose and goes for it. Metallica requires a gritty singer, going for it 110%. LaBrie handles it. For Dream Theater, doing these cover albums (from a wide variety of bands in fact) must be a lot of fun. They would have the chance to sing and play in a way that isn’t the usual for them. Guitarist John Petrucci does not often get to riff on something for five minutes straight like Metallica do.
Lars haters are naturally going to ask “What do Metallica songs sound like with a real drummer?” Hey, I’m no Lars hater. (He can play better than I can…) But in answer to that question I can only respond “fucking awesome”.
Dream Theater cover Master of Puppets without drawing attention to themselves. Mike Portnoy does not grandstand and overplay. Nobody does. If the effort was to do an authentic version of Puppets, as close to note for note as possible, then I say mission accomplished. Beat for beat, this is stunningly true to the original album. The keyboards are the most obvious deviation, and that’s minor. In anything, Dream Theater draw attention to the fact that these are great heavy metal songs. Are they Metallica’s best-ever set of songs? Some prefer Kill ‘Em All, some Ride the Lightning. Any way you slice it, Puppets is metal immortal, a very important record in anyone’s collection. Dream Theater painstakingly learned the album front to back so they could play it live for a few thousand people. They did that because it’s a great album on any day.
Dream Theater’s live covers albums (and many, many other releases) can be found on their own Ytse Jam Records website. Check out the multitude of stuff available (though some are out of print now) and try not to drain your bank accounts.
This is one of the weirdest CDs I have ever run across. Remember in 1990, when Elektra did that anniversary CD called Rubáiyát that featured Elektra’s new bands covering Elektra’s old bands? It was the first release of Metallica’s “Stone Cold Crazy” and the first time anyone heard a hint of what Metallica were up to in the studio after Justice. This promotional EP is a companion piece to Rubáiyát.
So what’s this EP? A “plunderphonic” is like a remix. The big difference is, they use only finished recordings, no multi-track master tapes. No going back to strip a vocal out of a song, no fiddling. Only actual snips of complete songs are used. A “new” piece is creating by chopping up and rearranging bits from other previously recorded pieces. Therefore, anybody can make their own plunderphonic using readily available songs. The man who invented the term, John Oswald, did the “plunderphonics” for this very rare promotional EP. His lightning-fast edits keeps things surprising.
The main attraction here, and the reason I own the CD, is a piece called “2 Net” by Metallica. I bet you never heard of that one, let alone heard the piece! It is a 1:21 mash-up of “Stone Cold Crazy” with a bunch of bits and bobs from …And Justice For All, and it’s as weird as that sounds. It’s a blur, almost incomprehensible. Fitting the thrash giants’ riffs into 1:21 will tend to have that effect. Building a composition out of Hetfield barks and Ulrich snares is fun as it sounds, even though it’s over before you can figure out what’s going on. Oswald mixed in some of Queen’s “Stone Cold Crazy” vocal for some melody. Crazy!
The most interesting track is the most unlikely: A cross between Carly Simon’s and Faster Pussycat’s “You’re So Vain”. The end result, “Vane” makes the two into one. If you have ever wanted to hear Taime Downe and Carly Simon perform the song together, this is your chance. It’s incredible how well the two versions contrast, since Faster Pussycat is about as different from Carly Simon as anyone can imagine. It zips from Taime to Carly and back again, as they trade words almost seamlessly! Another successful track is The Doors’ “O’Hell”. This is (obviously) based on “Hello, I Love You”. Bits of other Doors songs provide more instrumentation and effects. Fans of Morrison will absolutely adore it and imagine their own plunderphonics to invent. The MC5 arrive with “Mother”, based off the Kick Out the Jams album. It’s a lot of shouting and screaming and it’s all good. For something soft, check out “Anon” by Tim Buckley. This is taken from Buckley’s “Anonymous Proposition”, made shorter and psychedelic.
It is very hard to describe the complexity of these tracks. There could be hundreds of individual edits per song, because there is so much going on. The Simon/Pussycat song is a great example of how this is more than just a gimmick. It’s art, and anybody can try to do one themselves. In fact, without knowing the name for it, I have heard many plunderphonics before, at our annual Sausagefest countdown. Tom and Uncle Meat are skilled at making them, but I have never heard anything like these five tracks before — ever. These are above and beyond anything I’ve heard in the field.
The liner notes indicate that five more plunderphonics were planned for this CD, but not included. “Recipes” for making your own are inside. It’s almost like five bonus tracks, but you have to make them yourself!
Rating this CD is difficult, and since it was never meant to be sold, almost pointless. However you can find reasonably priced copies on Discogs, so a rating is necessary. This CD is interesting. It’s good, but it’s not meant for listening for pleasure. It almost acts like caffeine to the brain. Every song has so much going on that you are constantly listening and trying to catch it all. It’s also short, so buy wisely.
GETTING MORE TALE #537.3: 2016 Can Suck Balls
Year End Lists, Part 3 – LeBrain
Regardless of the music, 2016 will go down in history (for most of us) for just one notorious reason: The sheer number of stars that we lost, both young and old. Even after I had completed a list of the most significant pop culture deaths in 2016, I had to add even more names: Debbie Reynolds, and Carrie Fisher. Princess Leia was one of my first heroes. I was five years old. Carrie was an incredible woman, who lived a hard life and came out laughing.
But we’ll save the deaths for last.
Ever since the Record Store days, I have always done my albums as a Top Five. We had a newsletter and employees were asked to submit their Top Fives of the year. That being the case, I’ve always stuck with that tradition even when my compatriots have submitted some pretty awesome Top Tens.
You can check out the submitted Top Ten lists here:
After much deliberation, here are my Top Five albums of 2016.
5. Metallica – Hardwired…To Self-Destruct
4. Tragically Hip – Man Machine Poem
3. Jim Crean – Insatiable
2. The Cult – Hidden City
1. Monster Truck – Sittin’ Heavy
And of course, some killer runners-up. These three releases rocked hard and were just barely squeezed out of the Top Five:
A Rebel Few – As The Crow Flies
Black Sabbath – The End
Evilyn Strange – Evilution
Top TV shows of 2016
Some extras! The TV shows below are the only ones I bother with. If you haven’t watched American Dad yet, after all my badgering, I don’t know what else I can say about the funniest show on TV!
Actually I do — American Dad has the best musical jokes. You will hear plenty of great tunes: Metallica, The Sword, Stan Bush, Satriani, Rush, Queen, and many more. And even the songs you don’t like (Owl City, Kelly Clarkson?) are hilarious, because of the context. That’s what makes a musical joke work. You can find a complete list of songs used in American Dad by clicking here.
Top four TV shows:
4. Family Guy
3. The Grinder
2. The Walking Dead
1. American Dad
Dropping off the list is the Big Bang Theory which started to suck a couple years ago, a few noteworthy episodes aside (such as any time Wil Wheaton shows up).
Movies were…just movies. There was nothing this year with the emotional impact of The Force Awakens. The films below are not in any particular order. They are just movies, nothing more and nothing less. 2016 was a somewhat disappointing year for the silver screen. (I have not yet seen Arrival.)
Captain America: Civil War
Star Trek Beyond
And sadly, the real dead pool. These are just some of the musicians, actors, writers and sports heroes we lost in the year of 2016. Many went way too young. At the 11th hour, I received this sketch of Carrie Fisher as Princess Leia. It was drawn by Wardy who you may know as regular reader here. Thank you Wardy for sending and giving me permission to post this great sketch. (Wardy is one talented guy with a pencil.) Rest in peace to all below.
Rest in peace, and thank you for making our days a little brighter.
This past Friday, Metallica ended the eight-year long wait for a new album and put out the sharp-edged Hardwired…To Self-Destruct. If you go for the deluxe edition (a measly $16!) then you’ll get the full 78 minute studio album and a bonus CD (to be reviewed later) with another 14 tracks. That’s another 79 minutes of metal for a grand total of $16. The value is insane.
Cast your minds back to 2014. Metallica, embarking on a summer tour, released a new single called “Lords of Summer”. The concept of “Lords of Summer” was pretty simple. It’s a song about touring season, and it was one of the new pieces of music that the band were working on for the next album. Ultimately, a slightly shorter and re-recorded “Lords of Summer” was included on the bonus CD for Hardwired. The vinyl single (Record Store Day, limited to 4000 copies) has the original “First Pass Version” (8:20). This was also made available via download. If you’re already familiar with “Lords of Summer” then this is the version you know. The “First Pass” is not as polished as Hardwired, but similar in direction with the same focus on metal riffs and melody. Like much of the album, “Lords of Summer” careens from riff to riff blasting away at different tempos. While not one of Metallica’s most remarkable songs, it has some cool individual riffs cooked up within it.
For the sake of completion, we should also discuss the “Garage Demo Version” of “Lords of Summer”. This was included as a bonus track with Metallica’s official live downloads from that tour. It was first played in Bogota Columbia, March 16 2014. The “Garage Demo” (also 8:20) is different recording from the “First Pass”; very similar but even rougher. Fans familiar with Metallica’s usual demos know that they are often so rough that the lyrics are not yet in place. This time, the song was already fully formed in its demo stage.
The Record Store Day vinyl single contained a bonus live version, recorded in Rome on July 1 2014. By that time the band had been playing it all summer, so it’s tight. Kirk’s solo is drowned out in the mix, but of course you can hear the drums loud and clear. Compare this to the version in Bogota, which captures the song played live for the first time ever. The arrangement is the same, but it’s still coming together in Bogota. The Roman version demonstrates that practice makes perfect. But why stop there? There are a total of 33 different live versions available for download on Metallica’s site!
There is one last bonus, which is the etched B-side on the Record Store Day vinyl. Admittedly it looks pretty…but it’s just an “M”. It’s minimalist cool, but what happened?…they couldn’t afford to etch the etallica?
For this review, we listened to the following:
With 31 more live versions online, plus the new album version at 7:09, there are in total 36 official versions of “Lords of Summer” out there to consume. Happy hunting.
Note: This is a review of the 2CD album Hardwired…To Self-Destruct. A review of the third bonus CD will follow at a later time.
METALLICA – Hardwired…To Self-Destruct (2016 Blackened)
The ever-polarising Metallica are back. This time, Metallica may have finally released an album that pleases everyone. Amazon averages are remarkably high. Fans seem to be willing to forgive past mis-steps. Hell, Metallica are even back on Napster in 2016!
With Hardwired…To Self-Destruct being a long musical journey, it will naturally take time to absorb. It’s easy to imagine that you could review this album a year from now and have a whole new set of thoughts to share about it. Ultimately, Hardwired…To Self-Destruct is mostly strong throughout with few moments that drag. It does play a tad on the long side, not even including the third bonus CD. At 78 minutes, the album proper is actually only about as long as Load. The difference in the listening is that Load was a very diverse album of rock stylings, but Hardwired is full-on classic sounding Metallica through its entire length. There are a few back alleys previously unexplored, but all solidly within the realm of heavy metal.
The direction is not that dissimilar from Death Magnetic, just refined. There are many traditional metal riffs, Maiden-esque and sweet. You will discover several album highlights. There is only one track, “Am I Savage?”, that hasn’t hit the mark yet. Current contenders for favourite songs include “Hardwired“, “Atlas, Rise!”, “Now That We’re Dead” and closer “Spit Out the Bone”. Jessie David, metal specialist at 107.5 DaveRocks, says “Murder One” is her outstanding track. “It’s killer,” she warns. Each listener will likely add their own to this list. It is probable that every single track will have its fans, because none of them suck.
Many will want to know how the album is sonically — is it overdriven? The “loudness wars” took their toll on the last album. The best way to answer that is visually, so check out the waveform of “Hardwired” in Audacity.
It’s pretty loud, but not quite as bad as Death Magnetic.
Hardwired…To Self-Destruct will continue to evolve in the ears of listeners as time goes on. A provisional rating may change at any given time. But there is no question that Metallica are still able to stir the molten iron souls of fans with great new songs and performances. They are Metallica, and that seems unlikely to change.