Getting More Tale #433.5 presents: A worldwide online event! THE TOP 15 ON THE 15th – Guest shot by Uncle Meat
This is an event spanning many sites and writers in the World Wide Web. I will link to as many as possible; my own Top 15 can be found here. A few months ago, the challenge was thrown down to all comers: List your top 15 albums of all time! The date September 15 was chosen for the deadline.
Uncle Meat laboured hard on his Top 15, eventually whittling it down from a list of 31 great records*. Without any commentary, here they are. His only requirement: No live albums.
15.Rust in Peace – Megadeth
14. Screaming For Vengeance – Judas Priest
13.Little Earthquakes – Tori Amos
12.Close to the Edge – Yes
11.Consolers of the Lonely – The Raconteurs
10.Clutching at Straws – Marillion
9.Reign in Blood – Slayer
8.Operation: Mindcrime – Queensryche
7.Whale Music – The Rheostatics
6.Misplaced Childhood – Marillion
5.Moving Pictures – Rush
4.Roxy and Elsewhere – Frank Zappa and the Mothers of Invention
3. Pet Sounds – The Beach Boys
2.Hemispheres – Rush
1.El Corazón – Steve Earle
* For shits and giggles, here are the rest of The Meat’s albums that didn’t make the final cut.
As bad as things got at the end of the Tate era for Queensryche (cabaret, anyone?), Take Cover was a musical low. Queensryche were busy in 2007, with a double live performance of both Mindcrime albums (Mindcrime at the Moore), a double best-of (Sign of the Times featuring a new song called “Justified”), and Take Cover, a covers album. Considering the number of releases in 2007 (double CDs no less), Take Cover looks all the less necessary.
The five members of Queensryche each chose some songs for the album, and you have to admit that most of these choices are pretty cool. Where things go sideways is in the recording of them, and it usually comes down to Geoff Tate’s voice. Floyd’s “Welcome to the Machine”, which opens the album, should have been a slam dunk. The dark musical backbone is there, but Geoff’s shaky multi-layered vocals do not send shivers up the spine the way Gilmour’s did. It’s nice that Geoff threw some of his trademark sax in here, and the solos (Michael Wilton and Mike Stone) are great. The problem is the vocal and that’s a big problem.
“Heaven on Their Minds”, from Jesus Chris Superstar, was chosen by Mike Stone, who left the band after this album. Musically this works, and I never would have guessed its origin just from its metallic riff. Thumbs up for this one, no complaints about the singing. CSNY’s “Almost Cut My Hair” is a dud though, and they should have left well enough alone. Following that is a flat “For What It’s Worth” (Buffalo Springfield), a double whammy of stinky renditions of hippy anthems. Thanks Geoff, for picking those two….
When I spoke to Eddie “edbass” Jackson back in 2001, he told me “I love funk, I really like a really hard driving sound. I tend to focus more on the sonic end of it than the performance end.” That’s a great way to describe his take on the O’Jays “For the Love of Money”. Even Geoff’s sour singing fails to sink it, such is the relentless groove. Queen’s “Innuendo” is another brave choice. Long I have loved this Zeppelin-esque Queen classic. This masterwork of beauty, elegance and strength is rendered limp as a noodle by the vocal chords of Mr. Jeffrey Wayne Tate. This is painfully bad. It reminds me of Bad News’ version of “Bohemian Rhapsody”. Now my head hurts, and I must now do an ear-cleanse by playing the immaculate original as sung by Freddie Mercury. [Note: I’m not kidding, that’s exactly what I did! Here you go.]
From Freddie Mercury to Ronnie James Dio, there are some difficult vocalists here to cover. Right there are two of the greatest of all time, without question. Geoff struggles a little less with the Dio approach on “Neon Nights”. But he’s absolutely screwed on “Syncronicity II” by The Police. Scott Rockenfield, who I have always thought must have been a Stewart Copeland fan, picked this song. One of the things about the original was how effortlessly Sting sang it. He hit each note perfect and cleanly. Geoff is wavering all over the place, and it robs the song of all its biggest hooks.
Geoff Tate recovers on “Red Rain” by Peter Gabriel…oh man, what a song! Edbass shines on this one, as does Scotty Rock. “Red Rain” is one of the album highlights. Tate then indulges his every fantasy on “Odissea”, part of an Italian opera. It’s up to you whether you hit the skip button or not. Just keep in mind what Geoff Tate did to poor defenceless Freddie Mercury. He sings in Italian, so kudos for him for doing this, but the end result is an experiment that doesn’t need repeating. Finally, the live take of U2’s “Bullet the Blue Sky” is by far the best song. This is a recording from the Q2k era featuring Kelly Gray on guitar before he was replaced by Mike Stone. It’s a 10 minute extended workout complete with an epic Tate rant. “Don’t step outside of that box! Don’t step outside of that box! It’s dangerous there…outside that box.”
As much as Take Cover is a slog to get through, “Bullet the Blue Sky” is arguably enough to make it worth it.
RECORD STORE TALES MkII: Getting More Tale #420: Walk With Meat
Everybody loves misheard lyrics! “’Scuse me while I kiss this guy.” There are entire books available with nothing but commonly misheard lyrics. My dad used to think Gene Simmons was singing “a beach creature in the Ladies Room” on that Kiss classic from Rock N’ Roll Over. Misheard lyrics can be embarrassing when caught singing along, but also fun.
Perhaps some lyrics are not misheard at all. Perhaps some are intentional?
My good friend Uncle Meat pointed out a good one on Queenryche’s 1986 track “Walk in the Shadows”. This opening song from the amazing Rage For Order album has remained a fan-favourite over the years. Its progressive-rock-meets-technology vibe was very new for the time, though it was skeptically met by fans of pure guitar rock. As much as Rage For Order broke new musical ground, it was also quite complex lyrically. I even studied some of the songs (“Neue Regel”, “Chemical Youth”, and “Surgical Strike”) for a highschool English project. But what was Geoff Tate saying in the lyrics?
What? You say you’re through with me, I’m not through with you, We’ve had what others might call love.
Only mildly disturbing. Sounds like a clingy ex-lover who can’t face that his relationship is over.
You say it’s over now, What’s done, what’s through? You can’t stay away, you need me, I need you.
Again, still clingy and slightly desperate. Nothing of any depth or hidden meaning though. It’s all right there on the page. But wait….
Ow! You got to stay with me…(Walk with me) Oooh! Walk in the shadows (Walk with MEAT), Walk in the shadows (Walk with me), Ahhh, yeah! Walk in the shadows, WOO! (Walk with MEAT), Walk in the shadows (Walk with me), Ah, ahh, ahhhhh! Walk in the shadows (Walk with MEAT), Walk with me!
Listen to the end of the song. You can clearly hear the “t” in “Meat” on every other line in the outro. Clearly! And notice how Geoff puts his emphasis and screams and fill-ins on the MEAT lines. He even threw in a “woo” there. How often do you hear Geoff Tate throwing “woos” into his lines? So what was Geoff Tate really trying to tell us on “Walk in the Shadows”?*
Analyzing the lyrics of the song, and digging into the album itself for more clues, I think I have finally figured out the true, hidden story behind “Walk in the Shadows” by Queensryche. The technological theme takes us into the future. That much is obvious from the album’s lyrics and concepts. “I only dream infrared,” and all the high-tech artificial intelligence hints at a future that had not existed in 1986. We are getting closer, but thankfully the robots haven’t revolted yet. Tate is obviously foretelling the future rather than singing about current events in 1986.
Some time in late ’85, when Geoff Tate was knee-deep in a vat of red wine, a bottle fell off his top shelf, hit him on the head and knocked him out cold. He awoke in a future that is still far away, even for us in 2015. The year is unknown – Geoff was still too loaded on wine to pick up a newspaper and read the date. However one thing is known – the future will be dominated by Uncle Meat. Tate wandered this future landscape for some time, and witnessed things that no-one would believe. His only option was to hide these warnings in the lyrics of a concept album. That album was Rage For Order. “Walk in the Shadows” was the opening song. That’s how Geoff Tate plays his cards — right there on the table.
“Walk in the shadows, walk with MEAT.” Geoff had seen a glimpse of our planet’s glorious future. Walk with him and you will see – the future is walking with MEAT. You couldn’t get any clearer. Once you hear that not-so-subtle “T” in “Meat”, the rest slowly reveals itself, like a puzzle with the edges already finished.
Aaron at the KMA and I have coordinated posts today about cassette singles! If you can’t get enough,click here for his!Geoff at the 1001 has also thrown his hat into the ring, and you cansee his cassettes here!
RECORD STORE TALES MkII: Getting More Tale #356: Cassingles
Cassingle (noun): “cassette single”, a musical single release, usually consisting of two songs, on the cassette format.
A couple years ago, my parents found in their basement something I had lost and presumed would never see again: an old shoebox full of my old cassette singles! This was especially valuable to me, because a couple of those cassettes have exclusive tracks on them that have never been released on any other format. Helix’s “Good to the Last Drop” is one such single. Van Halen’s “Right Now” is another.
The shoebox also contained my prized cassette copy of the Sonic Temple Collection by The Cult. Buy cassette one (“Fire Woman”) and you can send away for the box. Buy cassette two (“Edie”) and you get three Cult cards. Buy cassette three (“Sweet Soul Sister”), and you can send away for a Sonic Temple pin. (Which I still have, just not handy for a picture.)
There are some tapes that I know I’m missing. They include three by Warrant: “Cherry Pie”, “I Saw Red”, and the horrid “We Will Rock You”, which I probably sold at garage sales when I temporarily disowned Warrant in the 1990’s! I could also swear that I owned Extreme’s “More Than Words”, but I don’t know what happened to that one. I’m not worried about it since the B-side remix track is being reissued on the deluxe edition of the Pornograffitti album. Maybe I gave it to Crazy Thunder Bay Girl!
Check out what remains of my cassingle collection below.
I am a Kiss fan, and I am also a Peter Criss fan. I like his first bunch of post-Kiss solo albums, Out of Control and Let Me Rock You just fine. They are not perfect but they have some good songs and are enjoyable, if dated, slices of the era. I think most fans would grudgingly admit that Let Me Rock You isn’t bad.
Cat #1 (terrible title!) was supposed to be Peter’s comeback, after a decade of working with bands that went nowhere such as Balls Of Fire and The Keep (with Mark St. John). He later assembled the Criss band, which included Mike Stone (who would later end up in Queensryche). Cat #1 was also preceded by a mail order EP simply called Criss, with some exclusive songs. That release was marred by an incompetent record company who took close to a year to mail out the orders.
Unfortunately, Peter did not need a record company to tank this release. This CD tanked itself. The problems with Cat #1 are three-fold:
1. No great songs. 2. Bland, uninspired performances and terrible singing by the backing band. 3. Bad production and plastic sounding drums.
The one good song is “Blue Moon Over Brooklyn”, the heartfelt ballad written for Peter’s mom who had passed away recently. This song, though imperfect, justifies me having it my collection. (Well, that and it’s Kiss related.) Phil Naro co-wrote this one, and diehard fans know he’s a talented guy who has written some pretty good songs. It’s just too bad that “Blue Moon Over Brooklyn” wasn’t fully realized by an ace band and producer. Somebody to help Peter know when he’s singing flat, you know?
Naro wrote two tunes here, “Bad People Burn In Hell” is the other. It’s not bad either. It’s a fun rocker where Peter gets to sing in his Elvis voice for a bit. But that’s basically it. The rest of the songs sound like a hodge-podge of unrelated bits stuck together, and wouldn’t even pass as filler on the worst Kiss albums. You could probably Frankenstein bits and pieces from these songs to make one good song out of the bunch of them, but that’s all. For example, the chorus from “Strike” is decent, put that with the verses from “Bad Attitude”…you know what I mean? Maybe you could make one good song out of them. (“Bad Attitude” by the way seems to be about that homeless man who claimed to be Peter as documented on the Phil Donahue show. Remember that?)
The production though is terribly bland, and Peter’s drums sound like triggered samples. They really sound terrible. The drum sound alone robs Peter of the swing. It’s distracting. His singing is good in spots, and he actually wails pretty good on tracks like “Bad Attitude”. “Bad Attitude” is vintage Kiss vocally, but shite musically.
Mike Stone sings lead on a couple tracks, and his voice is like…how do I describe this? He’s like Glenn Tipton meets an asthmatic Dave Mustaine or something. Not a good singer at all. When he takes the lead on tracks like “Show Me”, it sinks the song. Even when he backs Peter up on songs like “Bad Attitude”, it’s weak. A third voice is singing on “We Want You”, who I assume from the writing credits is Mike McLaughlin. His voice is even weaker, it’s like a raspy whisper.
Finally Peter recycled “Beth”, yet again. It was great to finally have an unplugged acoustic version of the song, but he has really milked that one, hasn’t he? It’s a good version, and it’s a slightly different mix from the one used on the earlier EP.
As marked on the cover art itself, Ace Frehley plays guitar on three songs: “Bad Attitude,” “Walk the Line,” and “Blue Moon over Brooklyn”. But you can’t really tell. Let’s talk a moment about that cover art. Actually, let’s not: You can see it for yourself, so you decide what you think. Challenge yourself to come up with one-word descriptions and post them in the comments.
QUEENSRYCHE – Dedicated to Chaos(2011 Roadrunner special edition)
Dedicated to Chaos will probably go down in history as the album that broke up Geoff Tate and Queensryche. The ironic thing was that Tate and the band hyped this album as a collaborative effort, with songwriting efforts from the whole band. It seemed from the early press releases that there was a conscious effort to have the original members contributing as equal members. Even Scott Rockenfield sounded genuinely psyched:
“It’s huge rock but with a great dance vibe to it, real modern dance. It’s kind of like Rage through a time tunnel, bringing it into the now. There are a lot of electronic elements to it. It’s a big rock thing that is going to have a lot of color to it — it’s good and really intense.”
Hearing that, I was excited. Not for the idea of “modern dance”, but for the Rage For Order vibe through a time tunnel. That could have been good. Unfortunately those are just words. Dedicated to Chaos may have elements from Rage and Promised Land (samples) but it is lightyears away from anything “rock”…certainly not “a big rock thing” as Rockenfield claimed.
Is it progressive rock? Who cares. It’s not good enough for a band of Queensryche’s stature. Tate’s friends Kelly Gray, Randy Gane, and Jason Slater also collaborated, watering down the attempt at re-integrating the band members. The impact of Jackson, Wilton and Rockenfield can barely be felt, even on the songs they co-wrote.
So here we are with Dedicated To Chaos, supposedly a rebirth but actually a funeral. It could have been my favourite album since Promised Land, had they delivered what they promised. The guitar patterns are more drony than riffy. There are electronic effects, as indicated. There is a huge emphasis on rhythm, but not necessarily groove. To its credit, much like Promised Land and Rage, there are unfamiliar sounds coming from everywhere. Some are percussive, others are more musical, but this is another true headphones album from Queensryche. If you actually wanted to hear what they were up to. Which I do not, I’ve given it a chance. I listened intently when it came out, and initially gave the album a rough grade of a 4/5, assuming it would grow on me. It did the opposite, and I liked it less with each listen.
This layout annoys me to no end.
My biggest complaint with Queensryche was Geoff Tate’s aging voice. It seems to have lost so much range and power over the years to the point where I can’t listen to Take Cover at all. The voice isn’t getting any better. At least it was recorded better than Take Cover. He’s using more of his own voices too. This is done particularly well on “Got It Bad”.
The positives: “Get Started” which sounds almost Empire-lite. Melodically strong was “Around The World”, which also has a nice positive message. You’ll hear more of Tate’s sax on “Higher” which is a modern sounding song with just a pinch of funk, yet with dual guitar solos. Lyrically, we’re all over the map. “Retail Therapy” is just pissed off at the world. “Around The World” has a kum-bay-a peace and love message. We’ve even got some civil disobedience and the hint of a conspiracy theory in “At the Edge”: “Time to look at what’s behind closed doors, Got gasoline, ammunition, like 911, a controlled demolition.” It also happens to be one of the best and longest songs on the album.
The negatives: Most of the bulk of the album. It’s just forgettable. Go ahead — tell me how “Luvnu” goes. Can’t remember, can ya? This piece of crap was written by Tate with his buddies Randy Gane and Kelly Gray. Surprised?
The “special edition” had three bonus tracks. They are mellow and atmospheric, but worth having only to the fan and collector.
QUEENSRYCHE – Promised Land (1994 EMI, Japanese import)
I’m sure the pressure was on to top Empire, so what did Queensryche do? They retreated to an isolated but luxurious cabin on an island, and wrote & recorded an introspective atmospheric masterpiece of a record. Far from record companies and hangers-on, the band focused on the art. By their own admission, the isolation (plus smoking pot and drinking wine) were catalysts for this great album.
I spoke to bassist Eddie Jackson about 13 years ago regarding this album, and I told him I thought it had a lot in common with Rage For Order. He didn’t see it at first, but both albums feature loads of sound effects and atmospherics. Neither album is a true concept album, but both have recurring themes and ideas that run the course of the CD. Promised Land is a deeply personal CD, mostly slower-paced, and one that must be listened to with headphones on.
Drummer Scott Rockenfield came up with the opening piece, “9:28 a.m.”, which is a collage of tones and sounds, ending with some shattering chimes and a baby’s birth. This melds into the first song, “I Am I”, not a typical Queensryche rocker by any stretch but certainly one of the most brilliant things they’ve ever composed. Tate’s lyrics begin the introspective theme of the album, backed by odd percussion instruments, voices, sitar, cello (by guitarist Chris DeGarmo) and droning power chords. There is so much going on beneath the surface of this song; that is why I say that headphones are required.
A skipping CD sound leads straight into the next song, the heavy and dark “Damaged”. “Damaged” is about psychological damage, the effect that bad relationships and experiences have on the self. At various times, Tate’s voice doubles and triples and quadruples, seemingly indicating multiple personalities, or perhaps voices in head. At one point it sounds like his voice has short circuited. Eddie Jackson told me that effect was a total accident in the studio that they couldn’t duplicate.
DeGarmo’s “Out Of Mind” follows, an acoustic piece regarding mental illness. It is a nice quiet composition with spare drumming and a beautiful DeGarmo guitar solo. This break in the pace continues with the next acoustic song, “Bridge”. DeGarmo’s shattered relationship with his father is the theme here. He has hinted before at issues with his father, (“Are you my father? The one that was promised?” from “Screaming In Digital”) but here we get more of the story. His father wishes to mend bridges, but DeGarmo tells him, “You never built it, dad.” A sad tale, and an odd choice for a single, but a single it was.
Side one ended with the powerful epic title track which is nearly 9 minutes long. Anchored by Eddie Jackson’s rumbling bass and Geoff Tate’s atmospheric sax, this is a mindblowing song. The lyrics deal with the fact that as youths, we are told that the world is our oyster, and a promised land is waiting for us. But it doesn’t pan out that way for everybody. There are many voices and sound effects in the background of this song, and Tate’s vocal is wracked with feeling. You can hear that this is taking place in a bar (“Drinks for all my friends!) Again, use headphones!
You hear a person leaving the bar, walking across a gravel lot. This melds into industrial city sounds. Soon the next track has begun, “Disconnected” (writted as “Dis con nec ted” in the lyric sheet). Tate’s vocal is spoken, to great effect. When he speaks in a staggered manner (“I must…release…my…rage…”) it is so understated; yet another mindblowing moment. Again, this song is anchored by Eddie Jackson’s deep bass lines, underscoring. Due to the odd staggered vocal, this song will not be for everybody. On the surface, it sort of resembles “Della Brown” from Empire. This song seems to be about feeling disconnected from the world around us, despite the technology that supposedly brings us together.
“Lady Jane” follows, revisting the mental illness theme. This is a dramatic piano-based song; the piano is played by Chris DeGarmo. The next track is the most straightforward song on the album, “My Global Mind”. A rocker with few frills, this is perhaps the most Empire-sounding of all the tracks. The plaintive “One More Time” comes next, with some amazing melodies and a fairly standard song structure.
All this leads into one epic final song, “Someone Else?” which is simply piano and voice. The lyrics, as with all of Promised Land, are incredible and Tate’s vocal is among the best he’s ever sung. Looking back, the person he is seems to have been someone else all along. This look back ends the album, which of course started with the birth sequence. Very nice bookends.
The Japanese got bonus tracks (of course), one of which is “Real World” from the Last Action Hero soundtrack. Strings are the main feature here, by the late Michael Kamen. The arrangement is a little too saccharine for me, but that’s Kamen for you. Then we also have the “full band” version of “Someone Else?” which adds an entire verse, but loses the piano arrangement that made the song special in the first place.
The remastered edition of Promised Land (which I don’t have and don’t need) has two additional live tracks, which were “Damaged” and “Real World” recorded in ’94. There were, of course, lots more live tracks available on singles at the time, but for those you will have to track down the actual singles. Some of them, such as “Dirty Lil’ Secret” which was issued with the Empire remaster, for whatever reason. And of course there was the ultimate rarity, an acoustic song called “Two Mile High” which was recorded specifically for the Queensryche’s Promised Land video game. This too is not included on the remastered CD, leaving the song frustratingly unavailable today.
On a final note, when I saw ‘Ryche live in Toronto on the final date of the Promised Land tour, they played the entire album live (albeit not in order), a good 10-15 years before doing so was in vogue. That’s how strong this album is, and that’s how good this band is.
Headphones are a must. Multiple listens are a must. Queensryche have never been deeper or more trippy. A masterpiece.
Queensryche get the name. Geoff Tate gets Mindcrime I and II.
In summation, the band Queensryche purchased the rights to the name from Tate. In exchange, Tate gets exclusive rights to performances of Operation: Mindcrime I and II. That sounds like a great solution all around. So the band Queensryche can’t play Mindcrime in its entirety anymore — who cares! I don’t. It’s been done, twice. Tate’s the guy who has the connection to the story, so for him to play it makes sense to me. He can change it stylistically if he wants, he can do anything with it.
Some very relieved musicians made some statements today, and fandom breathed a sigh of relief. It is over.
In the 1990’s, T-Rev befriended a bootlegger named Ralph. I personally purchased from Ralph a Queensryche show that I had attended (and reviewed) It was a VHS copy of the last date on the Promised Land tour in 1995. Trevor purchased live tapes from him as well. They were usually single-camera, audience filmed videos. Long before Youtube came along, it was the only way you could get videos of shows from bands you liked. Ralph charged between $15 and $20 for his bootleg videos. We even saw him at a Kiss show, covertly filming.
VHS was the common format, usually fuzzy with shitty sound. I bought a few shows from Ralph of varying quality; thankfully the Queensryche show was watchable enough. It was a single camera, and unfortunately the beginning of “Take Hold of the Flame” was cut off. Still, it was a great memento of the Promise Land tour.
A lot has changed since the 1990’s. Youtube has made great vintage concert footage easily accessible for anyone. New concert footage? Usually up later that night or the next day, unless the record labels try to take it down. Regardless, unless you are hunting for a specific show, chances are Youtube have concert footage of just about every band you like, for free. They do not have footage of the Toronto Queensryche show I saw in ’95, for example, but there are plenty of videos from that tour out there for free.
Bootleg CDs? Same deal. You can find a seemingly infinite amount of concerts online. I would never purchase a burned bootleg CD anymore. I only collect factory pressed bootleg CDs, which are still being made. They’re a lot harder to come by, because again, most people can download mp3 files from any live show you can think of, for free. If they feel like burning them to a CD they can, or just keep ‘em on the computer or iPod. Hell, way back in the late 1990’s, our own CD stores were selling burned live bootlegs. I never liked doing that but it wasn’t my choice. (We didn’t make them; we bought them in huge numbers from a customer.)
Above is an actual CD that we sold in-store. This is one of only two times I bought a burned CD for myself. We stickered this one at $19.99, and we put a label on it that said “live import” so we didn’t have to use the word “bootleg”.
When I attended the the Toronto Musical Collectibles Record & CD Sale last week, I was pleased to find lots of new factory pressed bootleg CDs. I’m glad that industry is still alive somewhere in Europe. I was surprised to see burned bootleg CDs and DVDs for sale, still. In this day and age? There is no way I could pay anyone even $5 for a burned bootleg CD. I saw many: Tori Amos’ first album, Y Kant Tori Read, is one of the most heavily bootlegged albums in my experience, and I saw a burned copy for $5. No thanks. T-Rev found a burned copy of Kim Mitchell’s first solo EP. No thanks! If you can’t find or afford an original copy, it’s all online. Just burn, print some cover art on your Epson and you’re off to the races, right?
Ralph was still there, now selling shows on DVD. The one he was showing was still just concert footage from a single audience camera. I couldn’t have justified paying $15 for a burned DVD of that. (Some vendors were even selling bootleg Blu-rays.) Truthfully, I was very surprised. I thought something like that had little monetary value to anyone in 2014.
At least the tables and tables of burned bootleggers were easy to skip, so I could concentrate on better finds. On the drive home, Trevor and I pondered, how could Ralph stay in business? Who would pay good money for a burned CD or DVD bootleg? Times have certainly changed.
Would you pay $15 for a burned DVD bootleg of your favourite band? Under what circumstances? Or, would you save your money and just download? Leave a comment and discuss!
It’s the regular feature where I reveal weird search terms that somehow led people here. These are the WTF Search Terms!
WTF Search Terms XIX: Heavy Porn Metal edition
There seem to be two clear majorities in search terms categories that I get here: Heavy metal and porn. Here are 10 new ones for your perusal. (For the last WTF installment, A Mixture of Elements edition, click here.)
10. geoff tate ruined queensryche (No argument from me.)
9.porn right motley crue shout at the devil (2 hits.)
8.blaze bayley implant crane (I have no idea what this guy’s looking for.)
7.rock shemale heavy metal ass pics
6. joe perry journey (Wrong band.)
5.why was bobby dall arrested in your mama dont dancs video (You know, I have wondered this ever since that video came out. I have no idea. Anybody?)
3.sebastian bach model trains (I love that Trailer Park Boys have turned this into a common urban myth that has come up in my search terms repeatedly!)
2.how much is my 1993 aerosmith get a grip cd worth(50 cents, big spender!)
1.why does peter criss have a huge bass drum (Maybe you’re thinking of Tommy Lee?)
15. Rust in Peace – Megadeth
14. Screaming For Vengeance – Judas Priest
13. Little Earthquakes – Tori Amos
12. Close to the Edge – Yes
11. Consolers of the Lonely – The Raconteurs
10. Clutching at Straws – Marillion
9. Reign in Blood – Slayer
8. Operation: Mindcrime – Queensryche
7. Whale Music – The Rheostatics
6. Misplaced Childhood – Marillion
5. Moving Pictures – Rush
4. Roxy and Elsewhere – Frank Zappa and the Mothers of Invention
3. Pet Sounds – The Beach Boys
2. Hemispheres – Rush
1. El Corazón – Steve Earle
mikeladano.com 