rock music

Part 192: Mix One

MIX ONE

RECORD STORE TALES Part 192:  Mix One

Blank discs are so cheap, and musical tastes so fleeting today, that I wonder if anybody but me still has the first mix CD they ever burned?

I’m hoping some of you have, and I’m hoping to hear it about from you too.  My first disc was made in early 2001 when we got our first burner.  It was made for a very specific purpose.

At the store, there was an informal rule that if you were closing one day and opening the next, it was “OK” to borrow a movie overnight, watch and return it.  So if that was true for movies, why not a CD?  Why not a dozen?  A few nights after having the CD burner installed, I borrowed a bag full of discs and burned this compilation on a Maxell CD-R 650.  74 minutes!  Up to 16x certified!

I returned the discs the next day, all albums that I wanted one or two songs from, but not the whole album.  Many were soundtracks and tribute albums.  I ended up buying The Strokes’ album a few weeks later, an ill-advised purchase that yielded only two or three listens.  I don’t have that one anymore.  But I still have my mix CD with “Last Nite”!

The Robbie Williams + Queen track is taken from the soundtrack to A Knight’s Tale.  I shall maintain the anonymity of the store employee who had the crush on Heath Ledger and inundated us with this soundtrack.  The same disc also yielded “I Want to Take You Higher” by Sly and the Family Stone.

Track 3 is an industrial-rock hybrid tune called “Violent New Breed”.  I later purchased the Violent New Breed album by Shotgun Messiah.  Industrial rock fans will know that Messiah’s original bassist/singer was Tim Tim, aka Tim Sköld of KMFDM, Marilyn Manson, and his eponymous band.  I liked the title track enough to later buy the album and the prior one too.  Both were keepers.

I’ve been a Goo Goo Dolls fan for a while so I thought I would grab their INXS cover “Don’t Change” from an Ace Ventura soundtrack.  Their cover of “Bitch” came from the 1993 No Alternative compilation album.

Apparently I was on a Warrior Soul kick at that time as well.  Shame that there isn’t a great Warrior Soul compilation album that suits all my needs.  I bought and sold their studio albums.  As for Michael Jackson, I later decided to add a single disc compilation to my collection, offsetting my burning of “Billie Jean”.

This being a real odds n’ ends disc, it’s not a spellbinding listen today.  It’s fun to remind myself of some oddball tracks that I liked enough to burn but not enough to buy.  I’m also amused by the title Mix One, the first of many!  And I was even doing cover art back then, too.  On the cover is myself dressed up as the alien from Part 148: Navigate the Seas of the Sun!

2/5 stars!

NEXT TIME ON RECORD STORE TALES…

The return of the Dandy!

REVIEW: Deep Purple – “All the Time in the World” (2013 CD single)

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All the time

DEEP PURPLE – “All the Time in the World” (2013 Edel single)

I tried to order this single from the Deep Purple Appreciation Society.   I was order #31.  But then Edel only hooked them up with 10 copies!  I had to order this from Amazon instead, paying $23 plus shipping.  I’m not happy about that, but it’s Deep Purple and I am a completist with this band.

I’m really fond of “All the Time in the World”.  It reminds me of the laid back Purple from Bananas.  The classy keys from Don Airey seal the deal for me, but how about that Steve Morse solo?  Fantastic!  Thankfully, the sonic qualities of compact disc bring out all the richness of Bob Ezrin’s production, lacking in the crappy Youtube videos available.  It might not sound like the Deep Purple of 1970, but that was a long time ago now.  It does sound like a rock band staying classy well into their silver years.  I don’t hear any compromise nor contrivances here.   This is a both a radio remix and an edit, so expect the album version to differ.

“Hell to Pay” is a more traditional Deep Purple hard rocker, but with a shout-along chorus.  You don’t hear shout-alongs too often in Deep Purple, as strange as that may seem, so this is new territory in a sense!  The highlights of this song are the solos by Steve and Don.  I had to play it again to bask in its awesomeness.  There are echos of “Highway Star” at times.

You’ll notice Ezrin gets a writing credit on each track (as does each Purple member).  This is indicative of both the collaborative nature of Deep Purple, and Ezrin’s usual musical input.

There are two live tracks, but I unfortunately already have these!  They are “Perfect Strangers” and “Rapture of the Deep” from the London Hard Rock Cafe in 2005.  They were previously released (and previously reviewed) with the special edition of Rapture of the Deep.  This is disappointing, I was hoping for unreleased live versions.  Regardless, they’re great versions, particular “Rapture” which is perhaps better than the album version.

Now What?! is out tomorrow, April 26.

4/5 stars (for the music, not Amazon’s price)

REVIEW: AC/DC – Live at River Plate (2012 German edition with bonus tracks)

ACDC FRONT

AC/DC – Live at River Plate (2012 Sony Music Germany edition with three bonus tracks)

ACDC DOMESTIC STICKERTime moves agonizingly slow in AC/DC Land.  Witness the nine years between Stiff Upper Lip and the band’s latest studio album Black Ice.  Even more astonishing is the fact that Live at River Plate is AC/DC’s first live album in 20 years!  Granted, only three studio albums came between AC/DC Live and this record.  Still, most bands of AC/DC’s ilk tend to release live albums as if it’s an annual occasion.

I’ll give AC/DC credit for something:  value.  Of Live at River Plate‘s 22 tracks, only 12 were on the last live album.  Live at River Plate is a lot more Bon-heavy.  It also draws several tracks from Black Ice itself, which is nice, but you get the feeling that these were the “let’s go take a piss” songs in concert.

“We don’t speak very good Spanish,” says Brian, “but we speak Rock and Roll pretty good!  Let’s go!”  Then the band tear into the golden oldie, “Hell Ain’t a Bad Place to Be”, which last time, was relegated to B-side status, on the 1992 live “Highway to Hell” single.  Brian Johnson’s voice is noticeably more whispery.  This is inevitable, singing this kind of music.  Considering this, it’s astonishing to hear Brian as ferocious as ever on “Let There Be Rock”.  How the man still has a voice after all these years is a mystery to science.

Hit after hit with new tracks mixed in, AC/DC roll ’em out:  “Black in Black”, “Dirty Deeds”, “Thunderstruck”, “Hells Bells”, “The Jack” along with newbies like “Black Ice”.  Meanwhile, Angus struts out his unmistakable guitar glee in extended solos and trade-offs with Brian.  The most exciting thing about AC/DC on stage remains Angus Young.  Even without the visuals of the shorts and the stomping, Angus continues to entrance, just doing what he does and making it all sound easy.

Disc 2 is just as heavy on the hits:  “You Shook Me All Night Long”, “Rosie”, “T.N.T.”, “Highway”, “For Those About to Rock”.     “War Machine” from Black Ice gives the audience a chance to get a beer, even though it’s as menacingly good as classics like “The Razors Edge”.

One thing that hasn’t been highly publicized is that the German edition of this album includes three bonus tracks.  These bonus tracks are real treats, of the underplayed AC/DC variety!  All three are taken from the Live at Circus Krone DVD, which was only available with the massive AC/DC Backtracks box set.  Sweet.

COLOURSEverybody loves “Rock ‘N’ Roll Ain’t Noise Pollution”, and it’s still as entertaining as ever, if a little less energetic.  “If You Want Blood” is another favourite, from the Bon era.  Bon used to sing this one at maximum lung power, but Bon was a 33 year old man.  Brian was 55 when he sang this.  I’m glad for its inclusion, as it’s still a high voltage head banger.  But the real treat is “What’s Next to the Moon”, an oldie from Powerage that isn’t on any AC/DC live album except this German edition.  And it prowls like a wolf, with teeth.

Live at River Plate was released in three colours (red, yellow, blue) in North America, but I don’t know about this German edition.  The only pictures I’ve seen of it were red, like mine.

The single from this album was the Record Store Day 2011 exclusive “Shoot to Thrill” / “War Machine”.  I don’t have anything in particular to say about the single, except it sure took them long enough to put out a full live album!

4/5 stars

MOVIE REVIEW: FUBAR II (2010)

“Knowledge of non-knowledge is power. “  – Dean Murdoch

FUBAR II

FUBAR II (2010 Alliance, directed by Michael Dowse)

Most sequels aren’t worth owning.  Fubar II is.  Plus, it comes with a bonus disc: Fubar, the original complete film. This was a total surprise to me. I had no idea it was going to be in there. I’m a little bummed that I bought the original film on blu shortly before this.  I gifted it to my buddy Cliff at work who also adores the exploits of Terry and Deaner.

Synopsis:  5 years after surgery, Deaner is celebrating these years of good health. Even though an eviction is looming, he and Terry have no real worries.  During a drunken house-trashing party, Tron tells them they have jobs waiting in Fort McMurray. Terry and Dean pack up their meager belongings and head to work in the oilsands.

As with the first Fubar, tragedy must eventually strike. Terry and Dean come to blows over a girl, Trish, who Terry has moved in with. Dean gets some bad news, and Terry gets even more unexpected news from Trish. For a while, Fubar II becomes much darker than the first film.

Unbelievably, a stroke of scripting genius turns Dean’s tragedy into triumph. This ending was as satisfactory as it gets. I ended Fubar II with a huge smile on my face. This sequel does something very unusual: it is funnier than the original, it has more emotion than the original, yet it doesn’t copy it. I have to say this is one of the best sequels I’ve seen.

The footage of the oilsands is really cool.  It looks like a cross between Vegas and the Mustafar system – a whole other planet. One thing about this movie, you can tell it had a budget this time, compared to the original. There are some really nice looking shots, and the movie itself looks great. The graininess has been replaced by slick production. The documentary style has been mostly dropped in favour of more traditional storytelling, although a few interview segments are scattered within.

For music geeks, Justin Hawkins of The Darkness has a vocal cameo near the end.  You’ll know it when you hear it!  The movie also features excellent tunage by Ronnie James Dio & Black Sabbath, The Gun, and Dean’s own classic “Whale Hunter”.

I mentioned the bonus disc with the entire original film, bonus features intact.   Other special bonuses in this set include a ton of deleted scenes. While some were overly long and you can seen why they were edited or pared down, others add to the story and comedy. There were several regarding Dean’s illness that might have worked well in the movie. One, “Mixing Meats,” was a shorty that just had me howling. Also, like the original film, this one comes with a commentary from Michael Dowse and others. Better though will be the in-character commentary by Terry and Dean. This was a real treat on the original film, and I’m sure this one will be too. I’ll have to check that out on next viewing.

Pick this up. Just give’r.

5/5 stars

Part 190: The Early Bird Drops the Discs

RECORD STORE TALES Part 190:  The Early Bird Drops the Discs

I hated the mornings.  What I really hated were people banging on the door to get in before we opened.  I don’t know why it bugged me so much.  I guess I was just peeved that somebody wanted to cut into my last few moments of unpaid time.

I rarely let people in early.  Usually I would go about my business, sometimes I’d let them know I’d be open in 10 minutes, or whatever.  My journal records one instance when a fellow didn’t check to see if we were open yet.

Date: 2004/05/19

This one dude was outside the store at 15 minutes before open, trying to get in. The door was locked and when he tried to open it, his bag of CDs fell down to the ground and smashed. He was cursing up a storm out there!

SMASH

Next time on Record Store Tales…

Let’s talk about classical music!

 

REVIEW: The Darkness – “Get Your Hands Off My Woman…Again” (2004 mp3 single)

GYHOMWATHE DARKNESS – “Get Your Hands Off My Woman…Again” (2004 Atlantic mp3 single)

After the surprise hit Permission To Land (which was essentially just a released demo) The Darkness were determined to make a better sounding second album.  At first it was announced they were going to be working with one Mutt Lange; that didn’t pan out.  Up next was Roy Thomas Baker, of Queen fame.

Their first released collaboration was a re-recording of “Get Your Hands Off My Woman” re-titled “Get Your Hands Off My Woman…Again”.  It differs only slightly from the original.  Better sounding bass, better sounding drums, but almost identical otherwise.  There are only two moments were the song deviates from the original:  a 5 second piano break at 1:54, and a different, more abrupt ending.

This was released November 8 2004, for one month only, for 99p on the official Darkness site.   Since then I understand it’s been very difficult to find online.  I like when bands release stuff like this, even though for most people it’s fairly redundant.  A lot of bands test the waters by re-recording older material, Axl’s done that and so have others.  When they make it available for almost nothing for a limited time, sure, I’ll bite.  It’s a kind of immediate release that didn’t exist 20 years ago.

Not to mention that this is just one of the Darkness’ best songs, ever.  Gratuitous language, hot riffs, screeching high vocals, ripping solos, and hooks for miles.  I was sold on the original song on first listen.  As for this re-recorded update, I like the better quality sound, but I don’t like the piano break or the ending.  Great tune, great sonics thanks to RTB, but I’ll stick with the original!

3.5/5 stars

Since you can’t take a picture of a non-physical product, here’s the CD single that I burned!

REVIEW: Deep Purple – Stormbringer (35th Anniversary Edition)

STORMBRINGER OUTER FRONT

DEEP PURPLE – Stormbringer (35th Anniversary Edition, 2009 EMI, originally 1974)

Stormbringer, now available in the gloriously remastered series of Deep Purple special editions, is one of my favourite Purple platters. Now augmented with bonus material, it has finally been given the treatment it deserved. It’s certainly not everybody’s cup of tea, but Stormbringer has earned some begrudging fans over the years.  I for one find it a more enjoyable listen cover to cover than 1974’s Burn.

A lot of fans did not like the funkier, softer direction of the band. You can understand this, of course. A fan who loved In Rock, one of the heaviest records of any decade, could easily be turned off by the radio-ready soul funk of “Hold On”.  Blackmore himself decried the funky direction of the band.

Here’s the good news: Whatever Deep Purple set their minds to, they could do. And they could do it well.

STORMBRINGER CDBlackmore may not have liked the album, and he did take a step back in the mix, (you can barely hear any guitar on “Hold On”).  He could stilll adapt to and play any style. His playing here, while sparse, is sublime. Ian Paice takes to the funky rhythms very comfortably, laying down some excellent grooves. Jon Lord steps up to the forefront, supplying some excellent, funky keys.

There are a few songs that harken back to the past: “Stormbringer”, the title track, sounds as solid as any epic the band had ever composed. It could have been on Burn as easily as this record. In fact, it stands out as being out of place: As the opening track, fans must have been shocked and surprised when the rest of the album was so different.

Another song that has shades of older Purple is “The Gypsy”.   It’s a slow mournful piece, perhaps akin to “Mistreated” from the previous album.  The lyrics are uncharacteristically bleak.

One track showed an interesting glimpse of the future. “Soldier Of Fortune” is an acoustic track which forshadowed much of the music Blackmore would do with Rainbow, and even now with Blackmore’s Night. David Coverdale has performed it live with Whitesnake.  I think it’s one of Richie Blackmore’s finest compositions.

Of the other tunes, “Love Don’t Mean A Thing” is one of the funkiest, and one of the most entertaining.  It’s just fun to listen to.  David and Glenn co-sing this one.  Ritchie’s solo is very understated, but appropriate.  Glenn takes his first solo lead vocal with Deep Purple on “Holy Man”, a soulful ballad.  “You Can’t Do It Right” features probably the funkiest guitar work of Blackmore’s career.  It’s fascinating to listen to, and the band really cooks on this one.  It’s one of the most extreme experiments of this funky Purple period.

As with all the Purple reissues, this has been lovingly remastered. Finally you can discard your original CD, mastered for digital ages ago, but never really letting the subtleties of the music shine. Stormbringer, of all the Deep Purple albums, perhaps has more subtleties to hear due to the quieter nature of the music.

STORMBRINGER DVDBonus material?  Oh yeah, there’s bonus material, in this case four remixes by Glenn Hughes. These remixes don’t replace the original songs, but they do act as a companion piece of sorts. Fresh light is shed on alternate takes incorporated into the mixes, and “Love Don’t Mean A Thing” is extended by over half a minute. “High Ball Shooter” is presented in an early instrumental form as well.

As an added bonus, a second disc has been included. The second disc, exclusive to this edition, is a DVD containing the original 1975 quadrophonic mix of Stormbringer! Nice. Apparently, this disc is to be a limited edition so get yours while you can. I liked quite a bit, myself. As with many quad mixes from the 70’s, the songs often bear noticeable differences from the originals.  Quad was a gimmicky fad, by today’s standards, but listening to it with the benefit of hindsight is quite enjoyable.

Lastly, I must acknowledge the great liner notes. The most entertaining story included is in regards to “Love Don’t Mean A Thing.”  While in Chicago, Ritchie ran across a street busker, who was snapping his fingers singing a song about money.  Blackmore invited him onto Purple’s plane, collected Coverdale and Hughes, and jammed for 20 minutes with this guy who taught them the song and the lyrics.  The band finished the song that became “Love Don’t Mean A Thing”, credited to the entire quintet, because nobody ever bothered to get the busker’s name.

Pick up Stormbringer in this 25th Anniversary Edition, and finally you can feel comfortable discarding your original.

5/5 stars for both the music, and the reissue!

Part 189: Hiding the Music

RECORD STORE TALES Part 189:  Hiding the Music

1985:

There was a group of kids on the street (Bob, myself, Rob Szabo, and Peter Coulliard) that were competing for a cassette copy of Kiss Alive II.  There was only one copy that we knew of in town on cassette.   Guys like Bob and Szabo would know that — they were older, had nice bikes, and probably had been checking all over town.  The only copy we knew of was at a store called Hi-Way Market.

Other kids on the street such as George and Todd had the album on vinyl, but Bob and myself didn’t really have any decent equipment for playing records at the time.  Cassette was portable, it was our primary medium in 1985.  In 1985, you didn’t listen to “albums”, you listened to “tapes”.  The cassette copy at Hi-Way Market was priced at $12.99.  This was more expensive than most, because it was considered a “double album” even though it was still just one tape.

KISS ALIVE II BACK

None of us had $12.99 plus tax right then, but Hi-Way Market had this tape we all wanted.  Hi-Way Market was a great store.  It had old creeky wooden floors.  Downstairs were groceries and clothing.  Upstairs, the greatest toy store in town.  Every Christmas they did a giant Space Lego display.  It was incredible.  But off to the side of this store, up a narrow staircase, was a little record store.  I bought my first Iron Maiden (Live After Death, on vinyl) there.  (I think the deciding factor in buying the vinyl of that album was the massive booklet, a rarity in those days.)

Since none of us had the money, Peter Coulliard hid the copy of Alive II behind something else in the store.  Something where no Kiss fan would ever look for it.  Probably behind Duran Duran or Michael Jackson.  This enabled Peter to have the edge when he finally did gather the necessary funds, thus edging Bob, Szabo and I out in the battle for Alive II.

1999:

These two kids kept coming into the store that were fascinated by my copy of Kiss’ Carnival of Souls.  These were young kids…well, about the same age as Bob, Peter and I were back when we pulled this stuff.  They did not have the $10.99 ($12.64 with tax) to purchase Carnival of Souls.  We didn’t have the only copy they could find, but we did have the cheapest one.  The mall stores were asking at least $20 for new copies.

So these kids came in day after day, week after week, moving Carnival of Souls.  They continually got more creative with their hiding places.  My job was to make sure the shelves were also straight and orderly, and when you’d find Kiss under Anne Murray, you’d put it back.  When bosses found Kiss under Anne Murray they’d give you crap.  So, much as I sympathized with the kids’ musical choice, they were grinding my gears as manager.

Finally I got fed up.  I sent the CD to Trevor’s store with an explanation of why he had to keep it and sell it there.  Then the two kids came in again.

“Hey, umm, do you have Kiss Carnival of Souls?” asked the first one.

“Nope, sold it yesterday,” I lied.

“Awwww…” said the second kid.

It had happened.  I had become “the man”!  I had lost sight of my old self.  Didn’t I pull that “hide the album” stunt myself? In fact, didn’t I do it with GI Joe figures at Hi-Way Market?  I did!

NEXT TIME ON RECORD STORE TALES…Early Birds.

REVIEW: Ozzy Osbourne – iTunes Festival London 2010 / “How?” (iTunes exclusives)

Today, T-Rev, Wes and I are attending The Toronto Musical Collectibles Record & CD Sale in Mississauga, Ontario. Wish us luck in our musical quests! For today, an Ozzy rarities review.

OZZY OZBOURNE – iTunes Festival 2010 (iTunes exclusive EP)

Jesus Murphy!  How much live product does Ozzy need?  Remember back in the 80’s when he used to moan and moan about record companies who wanted to release live stuff with his hits and Sabbath tunes?  Well, for a guy who complained about it, he sure didn’t break the cycle.

This is Ozzy’s third live EP (after Live E.P. and Just Say Ozzy).  For those keeping score, Ozzy also has four full length or double live albums, a live bonus disc to the Diary of a Madman album, and several live bonus tracks.  But who’s keeping track?  I guess it’s kind of cool that this EP was released three days after it was recorded on July 3, 2010…if you were there…or even knew it was happening…I guess.

Anyway this live EP was cool at least because it was the first live product available with Ozzy’s new guitar wizard Gus G.  The band was rounded out by Blasko (bass), Tommy Clufetos (drums) and Adam Wakeman (keys).  Hmm, didn’t two of those guys also play on the last Black Sabbath tour?

It’s entertaining enough, but any Ozzy live product in the last 20 years has felt like “just another live album” to me.  Even with the new lineup on this one, I can’t feel too excited.  At least I got one song that I didn’t have any live versions of:  the new “Let Me Hear You Scream”.  Oh, wait, hold on — another live version was on the Scream tour edition that was released a few months later!  Jesus!  This iTunes version sound like it has loads of taped backing vocals.  Too bad.

“Mr. Crowley” is next, a fine version, nothing wrong with it, after all these years nothing can compete with the version on Randy Rhoads Tribute.  Gus G plays the solo pretty much perfectly, but something’s missing.  Maybe it’s that the song is tuned down for Ozzy’s voice.  Ozzy reminds us that he wants to see “some fuckin’ hands”.  Another Blizzard of Ozz track follows, “I Don’t Know”.  Gus G gets to do some more original shredding here, as he puts his own spin on an Ozzy classic.  This guy will be a guitarist to watch, as he grows.

“Suicide Solution” is the third of three tracks from Blizzard.  I think it’s a shame that Ozzy keeps playing the oldies while leaving more recent songs behind him.  On this EP, only “Let Me Hear You Scream” is newer than 1991.  I for one would probably poop if I got to hear something like “Perry Mason” or “Trap Door”.  At least Gus G breaks the world landspeed record with his solo.

One song I never liked, ever, is “I Don’t Want to Change the World” from No More Tears.  This is the fifth version I own now.  It’s just…I dunno…I hate the chorus.  It’s too pop for Ozzy.  It’s like Bon Ozzy, or something.  Ozz Jovi.

My favourite track is last:  “War Pigs”.  Even though “War Pigs” is on pretty much every Ozzy live album ever made, this version is one of the most fun!  I just love when Ozzy tells the audience this:

“Clap your fuckin’ hands, come on you fuckin’ assholes!”

That is just hilarious!  I always laugh.  When I put this song on mix discs, I always label it “War Pigs (‘You fuckin’ assholes’ version)”.

OZZY OZBOURNE – “How?” (2010 iTunes single)

The last thing I want to talk about is Ozzy’s studio version of John Lennon’s “How?”.  This is also an iTunes exclusive, released in October 2010, shortly after the EP.  It was released on what would have been Lennon’s 70th birthday, with the proceeds going to Amnesty International.

Causes and good intentions aside, I think this version is just as crappy as anything on Ozzy’s dreadful Under Cover CD.  This is just…dull, boring, and not good.  I don’t know who played on it or produced it because there are no credits.  (Physical product!  This is why I care!)

iTunes Festival London 2010:  2.5/5 stars

“How?”:  1/5 stars

REVIEW: Bon Jovi – “Because We Can” (2013 Japanese single)

BWC

BON JOVI – “Because We Can” (2013 Island Records Japanese single)

There was a time I used to look forward to new releases by Bon Jovi.  It’s been a long time since I felt that way.  I thought the band bounced back (pun intended) with 2002’s Bounce, then they lost me immediately again with This Left Feels Right.  I don’t like to give up on bands that I used to feel strongly about, so I decided to check out Bon Jovi’s newest single, “Because We Can”.

I chose the Japanese single as it had one more track than the European.  I had not even heard the song yet.  It is written by Jon, Richie and songsmith Billy Falcon, produced by Jon and John Shanks.  (In other words, more of the same…)  The single came with a small 6-panel fold out poster and lyric booklet in English and Japanese.

The light glare completely erased Dave Bryan from this photo!

The light glare completely erased Dave Bryan from this photo!

Like many fans who have been hanging on long past Bon Jovi’s best before date, I found the song disappointing.  Rather than growing, it sounds like Bon Jovi are returning to the mainstream modern pop sounds of Have A Nice Day or even Lost Highway.  Bon Jovi’s never been the hardest rocking band, but they have written some great passionate rock songs in the past.  “Because We Can”, by title alone, should be in your face and proud of it.  Instead, it’s another faceless Pop Jovi song.  I’m going to write my own Pop Jovi song called “Who Says We Ain’t Strangers Tonight Because We Got It Goin’ On”.

I hate the chorus, it would be embarrassing to be caught singing this one.  There are some nice guitar licks flitting here and there, almost Brian May-like in sound, but barely audible.  Everything is buried under a thick blanket of backing vocals, plastic drums and electronic sounds.  You can barely make out Richie’s voice, and what passes for a guitar solo is really just a layered guitar melody.  At least the Japanese single comes with an instrumental version, which will allow you to hear Richie’s simple and sparing guitar.

The third and final track is a 7 minute live version of “Keep the Faith”, from 2010 in New Jersey.  Even this is slightly more laid back than the original 1992 version.  But at least it shows that Bon Jovi can write and play challenging material while keeping it accessible.   From the manic drum patterns to Richie’s smokin’ solo, this live version is everything that “Because We Can” should be.  Richie really shines on this track; I hope he comes back.  Bon Jovi without Richie ain’t Bon Jovi.

Based on this single, I won’t be buying the new album What About Now unless I find it cheap.

1.5/5 stars