I thought it would prudent to post a mini-review today, lest some of you thoughtI had lost my mind earlier. What’s the date again?
BON JOVI – “Born To Be My Baby” (1988 Polygram 7″ single)
This single is a beauty. I bought this 45 at the Zellers store at Stanley Park Mall in Kitchener when I was a young fella. It doesn’t have any exclusive tracks — not even single edits which were very common on Bon Jovi 7″ singles. Instead it came in a collector’s package with cardboard picture sleeve, and three postcards.
The postcards are interesting to me for a reason. Look at the group photos of the band. Jon’s face is always obscured. These pictures from the New Jersey period represent a brief time when Jon was trying to give the band more face time. Check many photos from that era — his back is often to the camera while the others look straight ahead. I read a quote in a magazine where Jon was pissed that people only knew Richie Sambora as “the guy in the cowboy hat”. He was trying to give them attention and I think that’s cool.
The two tracks on the single are two of my New Jersey favourites! “Born To Be My Baby” was always a cool groove. I enjoy listening to Tico Torres’ drums on this track. Understated but perfect. But “Love For Sale”? Shit, I think that’s the best tune on New Jersey! Proof of the talent of this band, drunk or sober. Hard to imagine it was just something that happened and got recorded. It actually makes me a little sad today — sad that Jon and Richie have now broken up this amazing chemistry.
Fun single though! Glad to have kept it all these years.
Q: Who would release a box set dressed up in faux-leather and studs?
A: Who else? PRIEST!
This five disc set (4 CD/1 DVD) compiles a generous sampling of Judas Priest’s music over the decades, from Rocka Rolla (1974) to Demolition (2002). While the tracklist is far from perfect in my eyes (where’s “Rocka Rolla”, “One For the Road”, the studio version of “Victim Of Changes”, “The Ripper”, etc?) it does provide some previously unreleased live versions (both B-sides and never-before-released) and a completely unreleased demo. It’s not a bad set. Just not the one I would have made personally given the opportunity.*
With insanely great fortune, I got this box set (a limited edition by the way; reissues lack the DVD) in mint condition but used at my own store! One of my favourite sellers, a customer named Conrad sold it to me only a short time after release. I don’t know why and I don’t care. I was just glad to have it affordably. I loved the packaging and there was that unreleased demo that I was eager to finally hear. Also, Metalogy was the first anthology style box set from Priest and I wanted to hear how it played out.
The unreleased song is the awesome hard rock track “Heart of a Lion”, demoed for Turbo back in ’85. You may have heard this one in re-recorded form on Halford’s live album Insurrection. It was also recorded back in the 80’s by a young band called Racer X, starring Paul Gilbert (Mr. Big) on guitar, and a drummer by the name of Scott Travis! It was a surprise to me that “Heart of a Lion” was not released on the Priest Re-masters series; obviously they were deviously saving it for something later, like this box set.
Some of the live versions are exclusive to this set. Two newly released versions included a 1981 radio broadcast of “Green Manalishi” (unfortunately, meaning the studio track isn’t on here). There is also an unreleased broadcast version of “Love Bites” from ’86. In addition to these, there are a few live tracks taken from old single B-sides. Unfortunately I already have all Priest’s B-sides, on a Japanese compilation called Priest Live & Rare.
The biggest weakness with this box set is that it tragically loses steam right at the end. In 2002 when the last original Priest music had been recorded, Rob Halford had yet to rejoin the band and Ripper Owens was still the current singer. The box ends with four Ripper tunes, and not necessarily the best ones. “Jugulator” is an undeniable inclusion, but there is a feeling of anticlimax. Leaving an exciting and unheard track like “Heart of a Lion” for last would have ended set on an up note. (Perhaps Priest could have included some Ripper-era rarities to add some value and excitement — there were a few songs available.)
Judas Priest Live (DVD)
The limited edition DVD, cleverly called Judas Priest Live, has since been released on its own. This is the old Judas Priest Live video, also known as Live Vengeance ’82, from the Screaming for Vengeance tour (Memphis Tennessee). It’s one of those music videos that you probably remember seeing back in the day. It’s quintessential early 80’s live Priest — all black leather and shiny studs. The setlist leans heavily on Screaming and British Steel, with classics throughout. The stage is pretty bare, just some girders and a Screaming for Vengeance flag in behind.
This concert has been remixed for DVD, in both stereo and 5.1 surround. I have read some complaints from fans that guitar overdubs were added to some tracks. I listened intently but could not conclude one way or the other that any tampering was done.
A pre-recorded “Hellion” acts as intro music; Priest emerge onstage amidst lasers and smoke to play “Electric Eye”. Halford is the caricature of himself, bearing a bullwhip, and looking something like the biker from the Village People. Nevertheless, a young Rob Halford slowly and deliberately commands the stage, powerful voice cracking but getting the job done. Tipton and Downing are on the flanks, tearing into “Riding on the Wind” next. The pulse of Ian Hill and Dave Holland, plain is it may be, is metronomically precise. The video is shot and edited to my taste; lots of closeups although the light flaring is distracting. (J.J. Abrams did not direct the video though!) KK Downing makes some of the best “guitar faces” this side of Nigel Tufnel.
“Heading Out to the Highway” brings the speed down from the breakneck pace. This mid-tempo classic has long been a favourite, although at the time it was only a year old! Three songs in, and Priest had not yet played anything from British Steel or before! The confidence in their new material is refreshing. Rob treats us to some hilarious dancing, but I admit I’d kill for a leather vest like that, with the bird from Screaming emblazoned on the back! Fear not though, as “Metal Gods”, a British Steel classic, is next. Rob’s robot dance gets my nod for “favourite moment of the concert”.
Back to new songs, the sharp guitars and robotic pulse of “Bloodstone” gets fists pumping in the air. The cameras are not wasted on audience shots (I’d rather see the band), but you can see the crowd digging the new material as much as the old. They really like “Breaking the Law” though, which has a blazing intensity. Then it’s back to the stone ages: KK Downing’s guitar showcase “Sinner”. This killer song loses something with Holland on drums, but it’s more about KK anyway. His solo is resplendent, but Rob nails the screams! “Desert Plains” is faster than the Point of Entry version but more powerful. This is one that Dave Holland is well suited to, and the Hill/Holland pulse is fully apparent.
Here’s something you don’t hear at Judas Priest concerts anymore: Rob screaming at the crowd, “Are you high? Sing yeah!” As a kid, I naively assumed Rob meant high on the music, the adrenaline of the concert, and I’m sure that’s the answer he’d give to the press if asked about it. As a cynical adult, I’m sure he meant “Are you high?” as in “Are you high?”!
All the way back to Sad Wings, “a little Victorian melodrama for you,” it’s “The Ripper”! Some stage bombs help out with the drama, and Rob sinks his teeth into the words. It’s an absolutely metal-perfect ode to Jack himself. “Diamonds and Rust” is an unexpected treat, as glimmery as it was on Sin After Sin.
Rob takes a moment to tell the crowd that there are cameras all over the place because they’re making the very first “Judas Priest movie”, and possible live album. Still waiting on that live album today, Rob! Back to the new album, it’s “Devil’s Child”, which Rob imbues with a strange monotone during the verses. This exact version was released as a bonus track on the remastered Screaming For Vengeance. As such it’s familiar to me and I enjoy the vocal twist. “Screaming for Vengeance” continues the onslaught of new songs, concluded by the chugging fan favourite “You’ve Got Another Thing Comin'”.
Closing the set with “Victim of Changes” is a suitably dramatic end. “Victim” is spot-on, and Rob is as animated as he gets. Headbanging away, Downing and Tipton are at his sides, while Ian Hill stands bolted to the stage, swaying his bass back and forth hidden behind a cloud of smoke! This brilliant version has all the twists and turns you expect, and that end scream is so satisfying even if Rob misses the note by several notches.
“The Green Manalishi” rears its leather-studded head in the encores, but not before the big hit, “Living After Midnight”. And let’s not forgot Rob’s boring “Oh yeah!” chant-along. Thankfully this version of “Green Manalishi” is a killer (as is the 1981 live version on CD 1 of this box set). “What you sayin’ Memphis?” screams Rob, before KK and Glenn dig in to their trademark solos. “Green Manalishi” remains to this day an example of a song improved as a cover version, with all due respect to Peter Green.
It ain’t over ’til the bike comes out, and it does on “Hell Bent for Leather”. Rob sits reclined on his Harley, bullwhip back in hand, commanding the masses. After dozens of power chords and crashed cymbals, it’s finally over — 95 minutes of Judas Priest fury, at the height of their 1980’s power. Not bad for a little bonus DVD (video quality issues aside), and worth picking up separately if you feel so inclined.
In closing
Review the track list yourself, see what you have and what you want, amd buy accordingly. I can tell you that this set was worth it for me for “Heart of a Lion” and the unreleased live material. The DVD was gravy.
Voice Of Reason marked the end of an era for Harem Scarem. It’s the last album by the original lineup before Mike Gionet departed, and the band got huge in Japan. I always found it difficult to understand how their home country of Canada could leave them obscure while the Japanese couldn’t get enough of them. In-the-know melodic hard rock fans point to Harem Scarem’s 1993 album, Mood Swings, as a high water mark for the band and genre. Although the band stretched out far and wide, Mood Swings remained the album that fans pined a return to. Voice of Reason had the difficult task of following that album. Harem Scarem had to both take it up a notch, and retain what made them great at the same time. Unfortunately that didn’t happen.
Mood Swings had a slightly progressive edge to its hard rock, with lush multitracked Queen-like harmonies and a diverse set of influences. They turned that up on Voice of Reason, attempting to become more Queen-like it seems. More vocal harmonies, more guitar layers and flourishes, more complex song structures. Those are all good qualities. I think one could do a lot worse than to be compared to Queen. But Harem Scarem weren’t able to summon forth another batch of perfect hard rock songs to go with it.
Although the direction this time out is mellower and more ballad-oriented, none of the tunes are particularly bad. You would not listen to Voice of Reason and point out bad songs. Instead it just goes through your brain like a foggy haze, without really retaining any of it. Perhaps they went too far with the layered vocals. This was self-produced so there would be nobody there to reel it in. There are still a few standouts, which are “Warming A Frozen Rose”, “Blue”, “Breathing Sand”, and “I’ll Be Brief”. These tracks are more memorable and stand out a little from the others.
The music video for “Blue” didn’t help matters.
MVP: Guitarist Pete Lesperance is the band’s Nuno Bettencourt. He is a skilled, creative player able to make his guitar do seemingly anything he needs it too. The wah-wah he throws into chorus of “Warming a Frozen Rose” helps make the song, and his shredding everywhere else is top drawer.
Those lucky fans in Japan got a bonus track on their version of the CD. “Candle (acoustic version)” is actually superior to the regular album version by being a little more unique and memorable. Very cool bonus track.
MOMOIRO CLOVER Z vs KISS – “Yume no Ukiyo ni Saitemina” / “Samurai Son” (2015 King Records Japan CD singles, sold separately)
Here they are, the new singles featuring the Kiss vs Momoiro Clover Z collaboration. “Samurai Son” appeared on the current Best of Kiss 40 CD, billed there as the “U.S. Mix”. That meant there are other versions out there, so I ordered the singles (two separate releases) from Japan. Even if I did not like the other versions of the song, the single covers were cool enough to keep as collectibles. As it turns out they are printed on high quality textured parchment style paper, and have stunning inner and outer art. They also come with transparent outer shells with shiny embossed symbols and writing. For packaging, it’s 5/5 stars for these singles.
Between the two singles, there are four different mixes from the “U.S. Mix” of “Samurai Son”. All feature Kiss, to a certain degree. Here’s how the versions break down, from “Least Kiss” to “Most Kiss”:
5. “Yume no Ukiyo ni Saitemina”. This is the full-on Japanese version with the spotlight primarily on Momoiro Clover Z. They take the lead vocals and their elements of the song and style and brought up in the mix. It’s funny to hear Kiss singing background vocals in English, underneath the Japanese lead vocals! Who know if the words actually go together in any way.
4. “Yume no Ukiyo ni Saitemina” (instrumental version). Kiss are the backing band on this track and you can clearly hear Tommy soloing, but the Kiss and J-pop elements are mixed fairly equally here. These first two renditions of the song are on both versions of the single.
3. “Samurai Son” (instrumental version). From the CD with the artwork emphasizing Kiss. This instrumental is based on the Kiss rather than the Momoclo version of the song. Tommy is in the spotlight a bit more on this version, as the instrumental mix leaves more room for his guitar licks to take the spotlight.
2. “Samurai Son”. From the same CD as the above track, this is a Kiss-heavy version similar to the “U.S. Mix” on Best of Kiss 40…but not quite the same. It follows the same blueprint of Kiss being up front and the Momoclo girls audible in the background and on the chorus. It has vocal, guitar and J-pop parts that are not as apparent in the “U.S. Mix”. Gene’s vocals also sound higher in the mix. It’s audibly mastered way, way louder than Kiss 40, as you can see from the Audacity waveform below. Track 3 from the CD is on top, the “U.S. Mix” from Kiss 40 is beneath.
1. “Samurai Son” (U.S. Mix). The Kiss 40 version; the mix that is geared to appeal mostly to Kiss fans. Logically, it sounds the most like Kiss. It’s only on Kiss 40; neither of these two singles have this mix which makes it a little more special for Kiss fans.
There are more tracks, but I’ll be frank — I didn’t even rip them to the computer. These tracks are vocals and instrumental covers by Momoiro Clover Z of “Rock and Roll all Nite”. I listened to it; it’s cute. If you want to try and get your little niece into rock music, this might be the way to do it. It has some guitars but it’s very cutesy. (Probably still better than Poison’s version though, Mr. Rockett.)
Finally there is the Blu-ray containing the music video, that I cannot play due to region restrictions. That’s why they invented Youtube, I think….
I give Kiss credit for doing something different like this and making it accessible to different audiences. My favourite version is the one on Kiss 40, but that one was custom built for people like me. These two singles are fun additions to the collection. It’s one of those conversation pieces you can show that one guy you know who says he has “all” the Kiss CDs.
IZZY STRADLIN and the JU JU HOUNDS – Izzy Stradlin and the Ju Ju Hounds (1992 Geffen)
Izzy was quick out of the gates after leaving Guns N’ Roses at the height of their success. Less than a year after his departure, a dreadlocked Izzy reappeared with his new band the Ju Ju Hounds, a Stones-y outfit also featuring Rick Richards from the Georgia Satellites. Guns’ main songwriter and rhythm guitarist unleashed an album of songs that easily could have been released in the early 1970’s.
There’s very little resemblance to Guns, aside from a few tracks on Use Your Illusion. “Pressure Drop” (the reggae classic) is redone here as a classic rock/punk hybrid, and it’s probably the only tune that you would think, “Yeah, that sounds like Guns.” “Bucket O’ Trouble” also has a distinct punk rock vibe, but the Hammond organ keeps it from going all the way. The rest of the songs are a lot more open, and far less heavy than fans were used to. Fans who “got it” loved it, and those that didn’t probably never will.
There are no bad songs on Izzy Stradlin and the Ju Ju Hounds, but there is little question about who this album sounds like. Izzy approaches it like a Keith Richards album with songs suited to his raspy voice. Izzy’s singing voice is so Stones-y and raspy that you’ll have trouble telling him apart from guest Ronnie Wood, who sings with Izzy on his own song “Take a Look at the Guy” (originally from Wood’s 1974 solo record I’ve Got My Own Album to Do, his first). “Train Tracks” is a Stradlin original that sports some tasty slide guitar straight out Wood’s book.
The single was the still-great “Shuffle it All”, which was criticized by some for a superficial resemblance to Lou Reed’s “Walk on the Wild Side”. Only the bassline has any similarity; which is admittedly a pretty significant hook. I like “Shuffle it All” better (heresy!), which easily could have been on Beggars Banquet. Those “ooo, ooo, ooo” backing vocals seal the deal for me.
There were also a couple mellow tracks. “How Will it Go” and “Come on Now Inside” are both lovely ballads with piano and acoustic guitars. “Come on Now Inside” contains a hidden bonus track called “Morning Tea”, but this isn’t really a full-fledged song of its own. This is just a percussion instrumental outro.
The Japanese edition has a bonus track called “How Much” which was also on the single for “Shuffle It All”. I’ll review that single on its own at a later time. It’s an Izzy original but you’d be forgiven for thinking it’s an old Bob Marley cover. Great tune — I’m a sucker for reggae. The song is worth it if you want to track down the single or Japanese import.
When Blackmore quit Purple for the second time, I had written the band off. I wasn’t too keen on the previous studio record The Battle Rages On, and what is Purple without the man in black? I didn’t want to hear a hack Deep Purple, struggling on to pay the bills with some sub-Blackmore player. The first time he left, it shattered the band and they were unable to continue past one record with Tommy Bolin. Then I started reading reviews of live shows with Steve Morse on guitar. Steve Morse? What the hell was that going to sound like? Morse and Ritchie Blackmore — it is hard to imagine two electric guitar players who sound less alike. (Joe Satriani was also briefly in the band to help them finish up touring commitments. Bootlegs of shows with Satriani are well worth checking out.)
When Purple finally released their new studio album Purpendicular, I had to buy it on import. It didn’t even have a North American release. When it was released officially in the US, an extra bonus track was added, so I tracked that down and bought it too. That is how much I really love this record. It had a huge impact on me musically in the mid to late 90’s, and when I saw Purple on this tour, they were smoking!
Kicking off with some of that patented Morse shredding, the oddly titled “Vavoom: Ted The Mechanic” kicks you in the teeth and won’t let go. This was, according to Gillan, done on purpose. It was a statement: “Here is our new guitar player, bitches.” Ian’s lyrics, ranging from bizarre to absurd and back again, are at their absolute peak on this album. (Check out “Somebody Stole My Guitar”.) Clearly, when the man had been freed of Blackmore’s shackles, he had been creatively revitalized. That probably followed in turn for each of the members.
The second track is the melancholy, bass-driven “Loosen My Strings”, a song which wouldn’t sound out of place on Slaves and Masters. From there, the album goes from strength to strength: The powerful progressive epic “Sometimes I Feel Like Screaming” (probably the best track on the album) to the bright and positive “A Touch Away”. Every song is backed by Morse’s unmistakable picking, miles away from Blackmore’s style of riffing, or medieval tendencies. That is not an attack against Blackmore, but sometimes a quality change can be refreshing. Morse utilizes pinch harmonics frequently on this album, which is a new sound for Deep Purple. He also utilizes long sustained notes with wide vibrato, a classic Steve Morse sound.
There are very few weak songs on Purpendicular. The plodding “Soon Forgotten” can be skipped. Not all the songs are immediate. Some of them are complex arrangements designed to take a little effort to penetrate. This album must be played a couple times for it to sink in. But when it does, stand back and prepare to be blown away. I wouldn’t want to miss “The Aviator”, a rare acoustic Purple tune. Morse lends it a celtic feel. For folks who prefer the 70’s jamming Deep Purple, check into “Rosa’s Cantina” and give a shout-out to “Hey Cisco”. And if you like it a little more straightforward and rocking, you may prefer catchy rockers like “Somebody Stole My Guitar” and “I’m Not Your Lover Now”.
I mentioned that I re-bought this album for a US bonus track. “Don’t Hold Your Breath” is a bright upbeat rock song, and worth tracking down. It’s not necessarily an album highlight, but why do without? Jon Lord’s organ sounds on this one are particularly enticing.
There was also one outtake from this album, a silly little jam/band intro called “Dick Pimple”. This was put out on a fanclub-only release, and later reissued on Ian Gillan & Tony Iommi’s compilation CD WhoCares. It’s a 10 minute track, giving the fans a rare chance to hear Purple with Morse jam just for shits & giggles. Because it’s Deep Purple, it is a quality jam, and completely unlike anything on Purpendicular.
Purpendicular was a vital record for Deep Purple. If they had blown it, that would have been it. They couldn’t have continued with any credibility if it didn’t kill. Fortunately it did. I am pleased to report that despite the tragic death of Jon Lord, Deep Purple has managed four more great records since, all with Steve Morse on guitar.
MOTLEY CRUE – Saints of Los Angeles (2008 Motley Records, Japan)
Man, if there was one band due for a comeback, it was the Crue. I mean, seriously! They went from the top of their game in 1991, coming off of Feelgood and Decade, only to have their lead singer abruptly leave. Then of course the awesome new album with the new singer flopped, because he wasn’t the old singer. Vince came back, Tommy left, and the band released the mediocre New Tattoo. After a hiatus, Tommy Lee returned again for a big successful reunion tour, and the Crue finally managed to put out an album. Saints of Los Angeles was better than expected, and did hearken back to the good old days.
You hear that a lot; “hearkens back to the old days”. Aside from the overly glossy production, this album sounds like the natural followup to Dr. Feelgood and “Primal Scream”. Of course, it was contrived that way. Nikki talks about this being a concept album following the the storyline of their book The Dirt, but really that is just an excuse to revisit the old (successful) Motley sound. Sure, why not? I’ll buy that.
Despite all odds, this album does succeed. From the opener “LA.M.F.” (which is an obvious homage to “In The Beginning” from the Shout album and “T.N.T.” from Feelgood) to the final track “Going Out Swinging”, there’s hardly any filler here. Just about every song kicks. No ballads, unless you want to count “The Animal In Me” (which I don’t). Hey, and think of it: Sharp fans will recall that Feelgood itself was originally conceived as a concept album with no ballads. Interesting.*
Guitar riffs are kicking, Vince is singing as good as you could hope, and all the songs shine. There’s even the odd female backing vocal, recalling the Nasty Habits. Only the production drags this down to a lower level, I simply find it too processed and glossy. Bob Rock would have added more thud, but that’s just my opinion. Song wise, winners include the title track and first single. Other highlights are the glam “Down At The Whiskey”, “Face Down In The Dirt” (see, The Dirt is in the title!), the swaggering “What’s It Gonna Take”, and the chugging “Just Another Psycho”. Those would be my favourites on an album of consistent song quality. All but “Welcome To The Machine”, which sounds like a transparent ripoff of Ace Frehley’s “Shot Full Of Rock”. I can’t believe I seem to be the only one pointing this out.
I was disappointed by one thing: look at those writing credits. Mick Mars has just one co-write, ditto Tommy Lee. Vince Neil: No writing credits at all. Instead, the album was mostly written by Nikki and his Sixx AM cohorts James Michael and DJ Ashba along with hired songsmith Marti Frederiksen. So, is this a Crue album or another Nikki Sixx solo album featuring Motley Crue? You decide. It sounds like Motley, but c’mon. Both Mick and Tommy were cornerstones of this band’s songwriting. It feels like Nikki just got his buds to write like Mick and Tommy.
There’s one item I’d still like to get, related to this album. I want to track down the CD single for “Saints of Los Angeles”, which lacks the CrueFest nobodies’ “gang vocal”. Maybe it’s just me, but I don’t think that a bunch of nobodies from Trapt or Papa Roach need to be on a Crue album. So I’d like to hear that one.
Other than these minor complaints, Saints wins. When you’re listening you’ll forget who wrote the songs, and you’ll just dig the fact that Tommy is back on drums and Mick is playing better than ever. God bless Mick Mars — that man is a rock and roll machine. He is the MVP on Saints of Los Angeles.
OH! And the Japanese bonus tracks, let’s not forget those. The liner notes tell us nothing about where or when they were recorded, but they are obviously more recent. “Kickstart My Heart” is the first, and Vince Neil sings with that annoying habit of singing every other word. He lets the audience take lines when he can’t. “Saints” slams, though.
4/5 stars. Crue fans will love it.
*It’s true. According to a 1989 Hit Parader interview, not only were the band considering a concept album, but Nikki Sixx stated that he wanted Feelgood to be all hard rock, no ballads. The ballads they had collected such as “Rodeo” and the newer “Without You” were to be included on a second new album to be released in 1990 called Motley Crue: The Ballads. Bob Rock reportedly talked them out of the “no ballads” concept. Then the concept was recycled for what would become Motley Crue (1994). Before Vince bailed/was fired, Nikki said there were to be no ballads on the next Crue album.
OZZY OSBOURNE – Best of Ozz (1989 CBS Japan exclusive)
Japanese releases are such interesting things. Sometimes they are chock full of bonus tracks and additional goodies, and sometimes they are not. This CD is one that is not.
Even though this album came out after No Rest for the Wicked (1988), this Best Of Ozz includes no songs from that album or with guitarist Zakk Wylde. The songs are drawn from the first four Ozzy studio albums only, and the CD contains only 10 tracks. You have to shrug your shoulders at some of the song selections. “Secret Loser” and “Centre of Eternity” are on this, but not “Suicide Solution” or “I Don’t Know”.
Those two aside, however, this ain’t a bad but brief run through the land of Ozz. “Crazy Train”: check. “Bark at the Moon”: check. “Mr. Crowley”: check. “Shot in the Dark”: check. They get some bonus points for deeper cuts such as “Diary of a Madman”, “Over the Mountain” and “Goodbye to Romance”. I’m also glad “The Ulimate Sin” was included, as that song has sort of been erased from Ozzy’s canon since then, in a manner of speaking. He doesn’t like reissuing any songs from that album.
Interestingly, each track alternates guitar players: Randy, Jake, Randy, Jake, through the whole album. The result is an uneven listen. I don’t know why they did that.
The tracks are most likely the original CD masters. There are no liner notes indicating they had been remastered and I think it would be highly unlikely. Since there is nothing exclusive to be had on Best of Ozz, and since it is limited to just 10 tracks and lacks Zakk Wylde, this CD is nothing more than a collectible to me. I don’t remember what I paid for it, but I bought it from T-Rev’s store. I probably paid about $16.99 or so. The CD itself is scratched a little bit, but not bad enough to skip or play defectively. Most appealing to me, the original obi strip was intact, and there’s a lyric sheet with Japanese writing and amusing sketches. Bizarrely, some of these sketches are of Zakk Wylde, even though he’s not on the album.
I’ve listened to Best of Ozz exactly twice: when I purchased it, and when I reviewed it.
This review goes out to Jonathan who asked me about a year ago for more Jethro Tull reviews! Here you go buddy, and Merry Christmas!
IAN ANDERSON & JETHRO TULL – “Ring Out Solstice Bells” (2004 R and M)
Although Ian Anderson had played seasonal music many times before, The Jethro Tull Christmas Album in 2003 was the band’s first full-blown Christmas disc. The following year, Anderson released an independent single from it called “Ring Out Solstice Bells”, with proceeds set to help a wild cat benefit that he supports. The track “Ring Out Solstice Bells” is an Anderson original, jaunty and gleeful. Jethro Tull’s signature enchanted acoustic sound is well suited to seasonal music, and the vibe is captured on a great original song that doesn’t annoy like other seasonal tunes often do.
The traditional “God Rest Ye Gentlemen” is a live version from 2004. It’s worth noting that even though Tull’s Christmas Album was reissued and expanded to include a live CD called Christmas at St. Bride’s 2008, these B-sides are from 2004. They are still exclusive only to this single. “God Rest Ye Merry Gentlemen” was arranged by Ian to be a jazzy and playful upbeat jam, virtually impossible to hate. It even goes menacingly electric before the ending. Then, from Aqualung is the brief “Slipstream”, also live from 2004. It is backed by lush keys.
The packaging for “Ring Out Solstice Bells” is pretty basic, just a single panel digipack. I do like the little touch of the inside cover doubling as a Christmas card. If you so wish, you could give this CD to a friend for Christmas, by inscribing their name under “To”, and your own where it says “From Ian Anderson, Jethro Tull and.” Of course no collector would do such a thing.
FIGHT – “Christmas Ride” (1994 single, 2009 free download reissue)
Some people think Halford III: Winter Songs was Rob’s first Christmas release. Truth be told, I don’t even own Winter Songs. Christmas music is barely just above tolerable for me. The completist in me wants to own everything; the music lover in me doesn’t really care for Christmas tunes, metal or otherwise. Besides, in 2009 Rob’s website was offering a limited time free download of “Christmas Ride”, a song Rob recorded in 1994 with Fight! 20 years ago! Unreal.
Don’t let the jingle bells throw you. That soon turns into revving engines, and a chugging Fight riff not too dissimilar from the stuff they did on War of Words. This was, however, probably recorded during the Small Deadly Space sessions, because Mark Chaussee is credited on guitar, even though Russ Parrish appears on the cover.
Either way, it’s purely metal. Rob is screaming in his upper register for all but the choruses, for which he howls. There’s absolutely nothing Christmas-y about the music (which is fine) but I just can’t get into the chorus of “Christmas ride!” The lyrics are funny enough. Fight have paid tribute to Santa this time: “The fat man’s coming and he knows no fear, He’s a big red rebel with some mean reindeer.” There’s even a reference to breakin’ the law: “Cruising ’round town breaking every law, He’ll come back next year to crank it up some more.”
I’m assuming Rob is referring to the crime of break & enter. He may also be breaking various aviation laws, but I don’t know how that works. I’ve never read about any charges being pressed, or warrants being issued, so I’m assuming that these minor infringements have been overlooked because of all the gift giving and so on.
But OK, it’s an alright song. Nothing special, though it does quote the “Nailed to the Gun” riff at one moment. It was released as a promo-only fanclub release in 1994, which I have never laid eyes upon. The free download offer was a legal way for me to get the tune. It also came with “Rob Halford’s Holiday Greeting” (11 seconds)! “Hey everybody, this is Rob Halford from Fight, wishing you all a crazy heavy metal Christmas and an insane, wild manic New Year!” There I spoiled it for you.
Would love a physical copy of this, for the collection. This is for fans only. Grandma will not dig it if you play this at your Christmas dinner this year.
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