rarities

The Big Lebowski radio, tonight!

I will be LIVE at 12:30 AM (ET) Saturday morning with Robert Daniels on VISIONS IN SOUND. Tune in on your dial to 98.5 or internet to CKWR!  You folks in the UK can tune in as you enjoy some morning java!  Join Us THIS Saturday 12:30-2:30am (ET).

This Week On Visions In Sound – The 20th Anniversary Of The Big Lebowski – Drop in to see what condition your condition is in this week as this week we celebrate the 20th of the Coen Brothers cult classic The Big Lebowski. We will also be live on Facebook!

I’m a bit of a fan of both the movie and its excellent soundtrack.  My movie review can be found here.  Check out my cool Lebowski ID and swag!

 

 

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GUEST REVIEW: Black Sabbath – Cross Purposes ~ Live (1995) Part Two – the VHS

BLACK SABBATH – Cross Purposes ~ Live (1995 IRS CD/VHS set)
Part Two: the VHS video by Harrison Kopp

As Mike’s VCR is currently stored away, he will be joined by Harrison, who was naughty and downloaded a 720p copy of the show when someone had it up on YouTube, and therefore will be reviewing the video half of this box set.

 

 

 


The video version is a great snapshot of the band at this period. The quality is quite good for a VHS, only betraying its origins with any large expanses of black shown. It also features some innovative action shots to capture the band, which is much appreciated as, although Geezer is still head banging away as usual, Bobby generally fades into the background and, as Mike has pointed out in other reviews, Tony Martin’s frontman-ship involves either singing up front or shaking his thinning hair by the drum riser.  As for Tony Iommi? Well he’s still the epitome of theatrical guitar playing.

The lighting is done well also, although the red occasionally gives the skin an overly pink tone. And for the first time, Geoff Nicholls is visible in the background of some shots, doing keyboards and backing vocals.

Puzzlingly, there is also a black and white filter used on a couple shots here and there, that really isn’t necessary. Those preceding niggles however, were only small nit-picks of a thoroughly enjoyable show to watch.

There are also three songs included on the video that aren’t on the CD and will be therefore be reviewed here. The first is fairly early in the set and is “Mob Rules”. Tony powers through verse after verse without fail. Although it inevitably falls short of the Dio renditions, it still deserved a place on the disc.

“Anno Mundi” is next. This is easily the best of the three. Tony Martin sings his heart out in an amazing performance of the only song from Tyr. This easily should have been on the disc as well.  (They all should have.)  On a side note, it’s really nice to see audience members head-banging and singing along to these Martin-era songs.  Last of these is a decent rendition of “Neon Knights” that just can’t compete with Dio’s versions. A couple subtle melody changes here and there don’t help it either.

Still, despite a couple small missteps:

4.5/5 stars, and Tony martin’s finest hour with Sabbath.

REVIEW: Black Sabbath – Cross Purposes ~ Live (1995) Part One – the CD

BLACK SABBATH – Cross Purposes ~ Live (1995 IRS CD/VHS set)
Part One: the CD

Metal fans who recall the 80s and 90s will remember that Black Sabbath struggled to be relevant, in a time when they should have been dominant.  While Soundgarden soared up the charts with a sound that could never have existed without them, Black Sabbath limped along, with new lineups annually.  Singer Tony Martin has been relegated to the footnotes of rock — unfairly for certain — thanks to a successful Black Sabbath reunion with Ozzy Osbourne.  Fans in the know appreciate the Tony Martin era, and the tunes it produced.

With a lineup featuring original members Tony Iommi and Geezer Butler, Sabbath rolled tape at the Hammersmith for a live video also featuring their newest drummer Bobby Rondinelli (Rainbow) and longtime keyboardist Geoff Nicholls.  They were on tour supporting Cross Purposes, their first since an aborted reunion with Ronnie James Dio.  This video was released in 1995, packaged with a CD that was shortened by three songs.

Today we’ll review the audio, and tomorrow a guest will review the video.

Some context:  in some circles, Tony Martin was seen as a Dio clone.  Therefore, it was brave and somewhat cheeky for Black Sabbath to open the show with “Time Machine”, a song specifically recorded for the Dio reunion!  The whole Dehumanizer era was dicey to begin with.  Tony Martin supposedly recorded an alternate set of vocals for that album just in case it didn’t work out with Ronnie.  Cheeky or not, Tony Martin was more than capable of covering Dio’s song, though with less of Ronnie’s unmistakable grit.

Back to Master of Reality, “Children of the Grave” is bloody sharp with Bobby on drums.  Nothing against Vinnie Appice or Cozy Powell (or Eric Singer or Bev Bevan or Terry Chimes or Mike Bordin or Tommy Clufetos) but I think Bobby Rondinelli was absolutely perfect for Black Sabbath.  His hard-hitting style really turned up the heavy, and he also adapted it to the old Bill Ward songs better than some of the other drummers did.

Sabbath churned out album after album, year after year, and they always played new tunes live.  Cross Purposes was a remarkably solid album, probably due to Geezer Butler’s influence.  “I Witness” was worthy of the Sabbath canon, fitting perfectly among the speed rockers like “Neon Nights”.  Next in the set was “Mob Rules” which was cut from the CD for time, so we skip through to a pretty authentic and unabridged “Into the Void”.  With Tony Martin in the band, Black Sabbath were able to do songs from any era.  That’s due to his versatility and his ability to put ego aside.

“Anno Mundi” (from 1990’s Tyr) should be next but it’s axed for time and instead it’s straight into “Black Sabbath”, a song that makes fools out of most singers.  And truthfully, nobody but Bill Ward can capture the random madness that is his original drum performance.  Sabbath ’94 do OK.

Another track is edited out (“Neon Nights” of all songs; who chose these?) and an odd choice from Cross Purposes is left in:  “Psychophobia”, a stuttering metal slab of anger.  Aimed at Ronnie?  You be the judge, when Tony Martin howls, “It’s too late now, it’s time to kiss the rainbow goodbye.”  The groove is pretty unstoppable whatever the motivation.

The surprise plot twist is “The Wizard”, an Ozzy oldie that few singers have dared to attempt with Black Sabbath.  First time in 24 years, according to Tony.  The harmonica part brings it closer to the old blues that Sabbath began with, and Tony Martin does fine with his own take on it.  Then it’s time for the Cross Purposes ballad, a killer “Cross of Thorns”, though one gets the sense of anticlimax after a track like “The Wizard”.  It would have worked better early in the set, but it’s an example of the quality heavy rock songs that Sabbath were still writing.  Martin’s voice cracks raw at times from pouring it all in, and Iommi’s guitar solo is one of his most melodically enticing.

Back once again to the past, “Symptom of the Universe” is a smokeshow, including the oft-skipped psychedelic groovy outro.  It kills any version by any lineup except the original quartet, and that’s due to Tony Martin’s throat-destroying singing.  Bobby Rondinelli gets a drum solo before “Headless Cross”; not the first time he’s had to play drum parts originated by Cozy Powell!  “Headless Cross” is a rhythm-based song with or without Cozy.  Geoff Nicholls helps out Tony Martin for the impossible notes in the chorus.

“Paranoid”, “Iron Man” and a downtuned “Sabbath Bloody Sabbath” make for a fine conclusion, but “Heaven and Hell” was conspicuous by its absence on this tour.  It was only played in form of a brief segue between songs.

The CD release is 71 minutes, so given time limits of the day, that was about as many songs as they could squeeze in.  If you want to be creative, why not find the other three tracks and add them as a bonus CD?  Until a complete deluxe edition comes our way, this will have to do for audio aficionados.  Our bonus CD is 16:08 of more Sabbath, though at a noticeably lesser quality.  Tony remarked that picking a setlist was near impossible, but that “Mob Rules” had a “fucking good place in this set”, so why not the CD?  It’s a full-speed cruise that is over before you can break a sweat.  “Anno Mundi” is a special treat, as it was only played on the UK tour dates.  Another fine example of underrated Martin-era material that wasn’t given a fair shake, but at 6:20 it takes a lot of space.  As for “Neon Nights”?  “This is a fucking good track,” says Martin accurately.  There’s a lot of speedy metal on Cross Purposes ~ Live, but two of the most important ones in “Mob Rules” and “Neon Nights” were not on the standard CD.  Surely a better series of cuts could have been made.

Tomorrow a guest reviewer will have a look at the VHS.  For the CD, the math is simple:

4.5/5 stars

– minus 1 star for the missing three songs equals =

3.5/5 stars

 

REVIEW: Led Zeppelin – “Rock and Roll” / “Friends” (2018 RSD remix single)

Unreleased Led Zeppelin?!  You don’t say!

LED ZEPPELIN – “Rock and Roll” / “Friends” (2018 Atlantic Record Store Day single)

The hype for Record Store Day exclusives is as strong as ever, but most of these releases are just empty cash grabs.  Coloured vinyl reissues of this, that or the other thing…nothing will compete with a mint original.  Sometimes you’ll see vinyl releases for albums that used to be exclusive to CD, but rarely will you be able to buy exclusive music.

Led Zeppelin saw to it that your Record Store Day dollars did not go to waste.

And as if you thought Led Zeppelin had “cleared the vaults” of unreleased material!  Here’s two more unheard mixes.  These cannot be found on the Zeppelin deluxe editions.  If you’ve collected all those already, then prepare to add two more tracks to your collection.  This is a pretty clear indication that Jimmy Page is not finished dusting off old tapes to sell.

There are no liner notes to explain when these mixes were done or by whom, but “Rock and Roll” was mixed at Sunset Sound.  Alternate mixes are fun for a fresh sound on an old favourite.  You can hear different nuances.  “Rock and Roll” has a nice clear heavy sound and maybe a little more echo.  “Friends” (from Olympic Studios) has a harsher sound, with the percussion part prominent in the mix.  The old intro is trimmed off in favour of a clean start with the acoustic guitar.

The yellow vinyl is a gorgeous bonus.  Add it to your Zep treasure chest.

4/5 stars

 

Thanks to Mr. James for picking this up for me.  You are a true gentleman, with a creepy Facebook avatar.

#673: Message of Love

GETTING MORE TALE #673: Message of Love

The old saying goes “Better late than never”.  This is often true, especially in music.  It is never too late to discover an old band.  Be it Led Zeppelin, Thin Lizzy, or Queen, it has been pretty easy for me to catch up.  As is my modus operandi, when I discover a band I tend to jump in headfirst and not look back.

I took a similar path with Journey.  Journey were never considered “heavy metal”, and although metal magazines did cover them, I was never exposed to their music as a kid.  If they were not on the Pepsi Power Hour in the 1980s, then chances are, I didn’t hear them until later on.

Prior to official “discovery”, I think I only knew two Journey songs.  “Any Way You Want It” was used on the Simpsons in a memorable scene.  I also remember hearing “Wheel in the Sky” on the radio while eating out with my sister and my grandmother.  “Who is this?” I kept asking.  The song was incredible!

I didn’t find out for many years that it was Journey, although I did form an idea of what Journey sounded like otherwise.  Dream Theater covered “Lovin’ Touchin’ Squeezin'” on their Change of Seasons EP.  “I hate that song!” said T-Rev upon seeing the EP.  I didn’t care for it either.  But I was still curious why Joey Belladonna from Anthrax counted Journey as one of his favourite bands.  Something to do with the singer?

I really had no idea who Steve Perry was.  I heard of him.  I didn’t know he was one of the most influential singers of the 70s and 80s!  In 1994, his solo album For Love of Strange Medicine was released.  It was my first year at the Record Store and I still didn’t really know who he was.  I remember stocking the CD, but I kind of blew it when I sold my first copy to a customer.

“This is supposed to be great,” said the lady buying the Steve Perry CD.

“Yeah,” I said, trying to make conversation where I shouldn’t have.  “He’s a great guitar player.”  Wrong guess.

“He’s also an amazing singer!” said the lady with class, trying not to embarrass me.

I will never forget calling Steve Perry a great guitar player.  What a clueless poser I was!

My moment of discovery finally came in 1998.  T-Rev, Tom and I were in a mall in Burlington, as I recall.  The new Journey song came on:  “Remember Me”.  This was one a one-off track from the Armageddon soundtrack.  It was credited as “Journey (featuring lead vocals by Steve Augeri)”.  As I would later find out, Steve Perry quit the band and was replaced by a similar sounding Steve.  I didn’t care about that, because the song was incredible!  I looked forward to eventually getting the CD, which I would have been buying anyway for new Aerosmith and Our Lady Peace.

That was my gateway:  a soundtrack song with a replacement singer, from a shitty Michael Bay movie.  Embarrassing yes, but the truth it is.

My bosses and co-workers cringed as I jumped right into my new favourite band.  First up:  Greatest Hits, remastered of course.  Bought it, loved it.  It was a little light, with all those ballads, but I expected that.  It was songs like “Only the Young” and “Separate Ways” that slayed me.  To me it sounded as if Bon Jovi ripped off every trick he had right from Journey.  Early Bon Jovi, for sure.  Not everyone agreed with me on that, particularly Bon Jovi fans, but I don’t think it’s a stretch.

Next I acquired their Time3 box set, at which point I finally got a proper Journey education.   From their progressive jam band beginnings to a bitter ending at the close of the 80s, the Time3 box set got me up to speed.  Almost.

One thing was missing:  Journey’s 1996 reunion album with none other than Steve Perry.  Fortunately for me, one of my regular customers (whom the bosses hated because he chewed gum when he spoke) brought me a mint condition Japanese version of Trial By Fire, complete with bonus track.  Something about the album clicked with me, and to do this day — do I dare say it? — I think it’s my favourite Journey.  Trial By Fire is exceptional.  It is diverse, perhaps even more so than prior Journeys.  It is passionate, and Steve Perry’s seasoned voice is the real journey.

Of course all this new Journey love meant I was playing them in store, constantly.  One kid named Matty K absolutely loathed every time Steve Perry sang “Whoa-oh-oh oh” in any form.  Everybody else probably thought I lost my shit.  What can I say?  Journey’s music actually made me feel good.  Of course I wanted to play it often, and I’m sorry the others hated it.  And hate it they did!

Steve Perry didn’t want to tour after Trial By Fire and so was replaced by Steve Augeri for a couple releases…who was then replaced by Jeff Scott Soto in a killer lineup that didn’t last…and Soto was replaced by current singer Arnel Pineda.  His remarkable story is the stuff for a whole other article, but I still love Journey.

Since I missed out the first two times around, I would love to hear a Journey reunited with Steve Perry once again.  It doesn’t matter that his voice has changed.  There is nothing quite like hearing him sing.  Or play guitar?  I can’t remember!

REVIEW: Black Sabbath – Past Lives (2002)

BLACK SABBATH – Past Lives (2002 Sanctuary)
(CD 1 is a reissue of 1980’s Live at Last (NEMS))

Black Sabbath’s Live at Last (1980) has been reissued so often that its Discogs listing shows 81 distinct versions.  Those don’t include the Black Sabbath live set Past Lives, of which Live at Last forms its first CD.  The second disc is all unreleased live versions, from shows in 1970 and 1975.  These consist of some of the big Sabbath numbers that weren’t on Live at Last (“Iron Man”, “Black Sabbath”) and more obscure material like “Hole in the Sky”.

“Hand of Doom” from Paranoid is an unusual though doomy way to open the CD.  It rolls from gentle bass to a roaring mania.  It is a taut performance largely because of Bill Ward’s enviable swing.  “Hand of Doom” was recorded in 1970, but jumping ahead to ’75, Ozzy’s intro to “Hole in the Sky” is cute.  It wasn’t out yet.  “Listen to it, you might like it, OK?” asks Ozzy.  Then, “Are you high?  Are you high?  So am I!”

Some Sabbath songs are like a brand new bulldozer, unrelentlessly heavy, yet shiny and cool.  “Hole in the Sky” is one such riff-monster, an indispensable slab of heavy metal.  It’s followed by another new one, and even heavier:  “Symptom of the Universe”.  Young, wasted Sabbath blast through it — and stay the fuck out of Bill Ward’s way!  The drummer is a tornado.  “Megalomania” makes it a perfect trifecta of new songs.  It’s an epic 10 minutes of different paces, riffs and melodies.  Unlike other metal bands, Sabbath often welded two or three unforgettable riffs together into mega-compositions.  Look at “Black Sabbath” for example — they could have made two songs out of it, but instead we have one massive monolith.  On stage, “Megalomania” is tense and never boring.  Ozzy shreds his voice to pieces.

As far as Past Lives goes, these three songs (“Hole in the Sky”, “Symptom of the Universe” and “Megalomania”) are the nugget of gold in the middle.  It’s a first official live release for most of them.  A live “Symptom of the Universe” was issued by a Tony Martin-era lineup on 1995’s Cross Purposes ~ Live, but that cannot compete with the vintage original lineup.*

It’s only oldies from there in.  “Iron Man”, “Fairies Wear Boots” and “Black Sabbath” (with unique Tony Iommi guitar intro) make up for their absence on Live at Last.  “N.I.B.” and “Behind the Wall of Sleep” from the first Sabbath round out the set.  Nobody did them better than the original band in the 1970s.

Today we have more original Sabbath to choose from that just Past Lives; two complete concerts were included in the recent Paranoid 4 CD box set.  Back in 2002, this kind of release warranted bigger fanfare.  The audio is not pristine.  Flutter, static and amp hum are part of the deal.  If you’re into buying archival live material, you know what this is about.

The original digipack release of Past Lives comes with a booklet, a poster, and most importantly a guitar pick.  Collectors will probably want to hold out for a version with pick intact, though finding one might be a “holy grail” item.  If you don’t care about such things, a simple jewel case release is widely available.

4/5 stars

 

* Sorry Harrison.

 

REVIEW: Accept – The Rise of Chaos (2017 coloured vinyl)

ACCEPT – The Rise of Chaos (2017 Nuclear Blast blue and orange splatter limited vinyl edition)

Over the past decade, Accept have joined a rare pantheon.  They are among the few metal bands with “replacement singers” that have continued with honour, and without constant clamouring for older lineups.  Mark Tornillo has, over the course over several great albums, earned his place without question.  The Rise of Chaos (with producer Andy Sneap) continues the journey, full steam ahead.

The blue and orange swirl vinyl edition is a double record set, limited to 700 copies.  Not only do they look stunning, but they sound vibrant and crisp.  A 46 minute album could easily have fit on a single LP, so the fact they did a double means they wanted to ensure maximum musical reproduction for vinyl buyers.*

Wolf, Mark, Peter, Uwe and Christopher crush it throughout.  “Die By the Sword”, the initial assault, is a lightning strike of sharp riffing and Baltes’ bass undercurrent.  This is pure Accept:  gothic backing vocals and overhead screams!  “Hole in the Head” boils over with animosity, delivered molten.  Then, like a Panzer division at full speed, “The Rise of Chaos” rips the heads off anything still standing.

Flip sides.  “Koolaid” retells the story of Jim Jones and the cult of the damned, a topic previously explored by Manowar.  With a riff written as if out of 1984, it takes on a mid-tempo groove rock march.  Yes, it’s possible the best song on the Accept album is named “Koolaid”!  Then the heat put off by “No Regrets” will blister the skin, if the drums don’t give you a concussion.

Flip sides.  Taking it back to a sharp metallic groove, “Analog Man” is an amusing look at our high tech world.  “Now there’s flat-screens and 3-D, my cell phone’s smarter than me!” They go for an anthemic style with “What’s Done is Done”, and plenty of guitar harmony solos to go around.  “Worlds Colliding” has the “classic metal” sound, brilliant riff and chorus combined for a slick mercury-like sound.

Flip sides one more time.  Neither “Carry the Weight” and “Race to Extinction” let up.  It’s 10 more minutes of fast, heavy metal.  Make no mistake, this is one punishing metal album.  Is it a little paint-by-numbers?  Yes — Accept albums are getting that way.  Riffs might be interchangeable.  But when the albums are still this good, it matters little.

4.5/5 stars

 

 

 

* You could also choose from:

  • 45 RPM, 180 gram black vinyl.  “limited edition”.
  • 45 RPM, 180 gram vinyl – blue and red splatter.  300 copies, USA.
  • 45 RPM, clear vinyl.  300 copies, Germany.
  • 45 RPM, 180 gram red vinyl.  300 copies, Germany.
  • 45 RPM, 180 gram vinyl – green and gold splatter.  300 copies, mail order from Nuclear Blast only.
  • 45 RPM, 180 gram vinyl – orange and red splatter.  500 copies, mail order from Nuclear Blast only.
  • This one is 33 RPM, 180 gram vinyl – blue and orange splatter.  700 copies, USA.

 

 

 

 

REVIEW: Ace Frehley – Anomaly (2017 deluxe edition)

ACE FREHLEY – Anomaly (2017 eOne deluxe edition)

Ace Frehley’s solo album Anomaly was a comeback of sorts for the ex-Kiss guitarist.  Released in 2009, it was his first solo adventure since quitting Kiss for the second time.  In 2017, it was reissued as a questionable “deluxe edition”.  Why questionable?  There are only three added tracks.  The album was remastered (out of necessity so that the unreleased tracks match the album) and a new essay was included.

We reviewed Anomaly back in 2013 as part of a complete Ace Frehley review series.  There’s little point in rehashing it all.  The good songs are still the good songs:  “Outer Space” (Shredmill cover), “Fox on the Run” (The Sweet cover), “Change the World”, “Sister”, “Genghis Khan”, “Space Bear” and “Fractured Quantum”.  Three of those songs are instrumentals.  The filler is still there too:  “Pain in the Neck”, “Too Many Faces”, “Foxy & Free” and so on.

The best of the bonus tracks is “Return of Space Bear”, previously only available by download (and then disappeared off iTunes).  This is the first chance to get “Return of Space Bear” in any physical format, if you were lucky enough to get it at all.  What is “Return of Space Bear”?  Back on October 30 1979, Kiss did an appearance on the Tomorrow Show with Tom Snyder.  Ace was “pre-lubricated”, so to speak, and had a little teddy bear Ace with him, “the first space bear in captivity”.  Gene Simmons tried to divert attention away from Ace, but a lovably drunk Frehley stole the show.  “Return of Space Bear” is a version of the album track “Space Bear”, with Ace’s dialogue re-enacted and added in.  Kiss fans will love it.

The other two extras are demos.  “Hard For Me” is an early version of “Foxy & Free” with different lyrics.  While less polished, the music is 100% intact and the demo is nice and lively.  According to the new liner notes, the record company thought that “Hard For Me” was a bit too dirty, and so demanded new lyrics.  Then there is a “slower” version of “Pain in the Neck”.  It’s not drastically slower, but a little heavier.

Is it worth re-buying Anomaly just for the bonus tracks?  Well, if you hated that weird fold-out box the original came in, then take note this version comes in a standard digipack (with nice embossed lettering).**  Online, fans were more excited about the vinyl editions, including a lovely picture disc 2 LP set.  Buying it again is justifiable if you haven’t already bought Anomaly, but difficult to do otherwise.*

3.75/5 stars

* I bought it to beef up an Amazon order to qualify for free shipping.

** On this edition, Les Paul’s name was added to the “In memory of…” on the reverse.  Presumably, when Les died in 2009, it was too late to add his name to the back.

COMPLETE FREHLEY REVIEWS

ACE FREHLEY – 12 Picks (1997 Megaforce Worldwide)
ACE FREHLEY – ACE FREHLEY (KISS solo album) (1978 Casblanca)
ACE FREHLEY – Anomaly (2009 version)
ACE FREHLEY – “Cherokee Boogie” (1996 Attic)
ACE FREHLEY – Frehley’s Comet (1987 Megaforce Worldwide)
FREHLEY’S COMET – Live + 1 (1988 Megaforce Worldwide)
ACE FREHLEY – Loaded Deck (1998 Megaforce Worldwide)
FREHLEY’S COMET – Milwaukee Live ’87 (radio broadcast CD)
ACE FREHLEY – Origins Vol. 1 (2016 eOne)
FREHLEY’S COMET – Second Sighting (1988 Megaforce Worldwide, 1998 reissue)
ACE FREHLEY – Space Invader (2014 E One/Victor Japan)
ACE FREHLEY – Trouble Walkin’ (1989 Megaforce Worldwide)
Return of the Comet – Tribute to ACE FREHLEY (1997 Shock Records)
Spacewalk – A Salute to ACE FREHLEY (1996 DeRock/Triage)

 

#659: Once Upon a Time in Shaolin

GETTING MORE TALE #659: Once Upon a Time in Shaolin

It is one of a kind, but it wasn’t the first of its kind. Jean-Michel Jarre made one copy of his Musique pour Supermarché album, for an art exhibit. He then destroyed the master plates. To this day, the only music that exists from that album are poor quality bootlegs from an AM radio broadcast. So, the Wu-Tang Clan were not the first to press up only one copy of an album.

The big difference is that Wu-Tang never intended to destroy Once Upon a Time in Shaolin. They intended to sell it as a one-off work of art.

Wu-Tang leader RZA made Once Upon a Time in Shaolin as a statement of the devaluation of music in the Spotify generation. The single copy would be made available by auction to a fortunate buyer, who then had to sign a contract agreeing that the album could not be sold commercially for 88 years. There is an unconfirmed and bizarre clause in the contract that only the Wu-Tang Clan or Bill Murray could rightfully steal the album back. It sounds like one massive publicity stunt, except that it wasn’t. The 88 year clause ensured that nobody would be getting rich off this for a long, long time (if ever).

Wu-Tang spent six years recording the double album. The tracklist has never been confirmed, nor the artists appearing on it. The auction house, Paddle8, assembled a list of working titles: 26 tracks spread over two CDs. Reportedly, Cher sings on two songs. It is assumed all the living members of Wu-Tang appear on it too. The packaging is an elaborate silver box with a key lock built in. The Guinness Book of World Records calls it the most valuable album of all time, exceeding even Bob Dylan’s original Freewheelin’ LP with the four removed tracks still intact, or the Beatles’ “butcher cover”.

Wikipedia

How much is the “most valuable”? Once Upon in Shaolin was purchased for $2 million US by “Pharma Bro” and general scumbag Martin Shkreli.  Shkreli bought the CD before he became notorious for raising the price of a life saving AIDS drug by 5000%. Had this happened before, Shkreli would likely not have passed the vetting process. Wu-Tang wanted to ensure the album went to a fan who would appreciate and honour its value. Instead it went to one of the most despicable human beings on the planet.

Shkreli thought about destroying the album, or putting it somewhere so hard to get that hearing it would amount to a religious pilgrimage. According to the contract, Shkreli could have broadcast the album for free. Instead he taunted fans and played a couple snippets online. Wu-Tang member Ghostface Killah called him a “shithead”. In an act of what surely must be bad comedy, Shkreli then made a video with three masked thugs appearing to threaten Ghostface.  “You’ll be a ghost for real, motherfucker!” says one of the henchmen.


“Dennis…I’m going to call you by your ‘government name’. You’re not a ‘ghostface killah’. I’m sorry.” — Martin Shkreli

Is Shkreli a fan or just a rich troll? He says he bought the album because he loves hip-hop but also relishes being a musical “villain”. He claims he hasn’t played the whole thing. Shkreli tried to sell the album on Ebay, where he wrote: “I decided to purchase this album as a gift to the Wu-Tang Clan for their tremendous musical output. Instead I received scorn from at least one of their (least-intelligent) members, and the world at large failed to see my purpose of putting a serious value behind music.”  There was a winning bid on Ebay of over a million dollars, but it is not clear if the sale went through.

Speaking of “intelligent”, someone should tell Martin Shkreli that threatening people on video is not very bright.  Nor is committing fraud, of which he was convicted.  He followed this by stupidly offering anyone $5000 for a lock of Hillary Clinton’s hair.  The judge presiding over his case saw that as a threat of assault, and sent Shkreli to jail.  Do not pass “Go”, do not collect $2 million dollars.

In a twist of karma, Martin Shkreli now has to forfeit the album as part of his fraud convictions, if he still owns it.  He may also face 15 years in jail.  It couldn’t happen to a nicer guy, but what the hell are the Feds going to do with a Wu-Tang album?

Stay tuned!


Once Upon a Time in Shaolin

DISC ONE – Shaolin School

“Entrance (Intro)” (1:57)
“Rivals” (4:12)
“Staple Town Pt. 1 (Interlude)” (0:44)
“Ethiopia” (7:55)
“Handkerchief” (0:49)
“Staple Town Pt. 2 (Interlude)” (1:10)
“The Pillage of ’88” (6:52)
“Centipedes” (7:14)
“The Widow’s Tear” (3:55)
“Sorrow” (5:45)
“Shaolin” (6:14)
“The Saga Continuous” (6:58)
“Shaolin Soul (Exit)” (3:41)

DISC TWO – Allah School

“Sustenance (Intro)” (0:43)
“Lions” (6:08)
“Since Time Immemorial” (2:32)
“The Slaughter Mill” (6:31)
“The Brute” (3:24)
“Iqra” (7:23)
“Flowers” (5:49)
“Poisoned Earth” (4:34)
“Freedom (Interlude)” (2:25)
“The Sword Chamber” (4:05)
“Unique” (2:32)
“The Bloody Page” (5:09)
“Salaam (Outro)” (1:31)

 

REVIEW: Sloan – “Kids Come Back Again at Christmas” / “December 25” (2016 single)

SLOAN“Kids Come Back Again at Christmas” / “December 25” (2016 murderecords 7″ single)

This record arrived at LeBrain HQ almost a year ago — too late to include with last year’s Christmas reviews.  So, not only did I wait until today to review it, I actually waited until today to even open it!  This record is courtesy of James from the KMA, a superfine guy who always hooks me up with the latest Sloan rarities.  This 7″ single released on murderecords certainly qualifies.

The record is packaged not only with a download code, but also four unique Christmas cards and even little red envelopes for them.  I would never deface these collectables and send them out; to me they are part of the single.  Each card has a relevant Sloan lyric inside, such as “I’m just walking around, I made that snowsuit sound.”

Both seasonal songs are originals.  Chris Murphy takes the first lead vocal on “Kids Come Back Again at Christmas”, a bright piano-based Sloan number.  Bells and chimes make it sound seasonal, but otherwise it’s good old mid-tempo Sloan pop rock.  “December 25” is led by the vocals of Jay Ferguson.  Jay’s material is often laid back and more contemplative.  Both tracks have certain Sloan trademarks, such as strong melodies, backing vocals, and an old-fashioned no-frills approach.  All instruments are played by the band, with nothing extraneous added like you often find in Christmas rock tunes.

Two catchy songs, a cool limited edition package, and vinyl.  Sounds good to me.

4/5 stars