If you’re a regular here, chances are that you are familiar with Polychuck! Check out the short clip below to see one of the cool new shirts he has for sale. Polychuck is currently supporting his new single “Hero” featuring Derek Sherinian. A modern progressive rock tune, “Hero” is an impressive showcase of songwriting and musicianship.
Polychuck will be on the LeBrain Train on Saturday April 23 at noon. Don’t miss it.
The Infinite Live Recordings, Vol 2. (3 x 10″ EPs)
DVD – Live at Hellstock, Roger Glover and Bob Ezrin in Conversation
Every Deep Purple album seems like the final album. Maybe this one is; maybe it isn’t. It feels like the band treat every album as seriously as if it was their last. The cover art and music of Whoosh! takes us back to 1968 and Shades of Deep Purple. The logo is similar, and there is a new version of the 52 year old first Deep Purple song ever, “And The Address”.
Opening with the lead single “Throw My Bones“, the album sets a mid-tempo pace from the start. This is a lush, catchy groove with hints of classical and funk. It began life during the Infinite sessions but was not finished until Whoosh! Purple pick it up a bit on “Drop the Weapon”, a non-preachy appeal for cooler heads to prevail. It has a similar vibe to the 1988 album Accidentally On Purpose by Ian Gillan and Roger Glover. The immediate riffs and hooky vocals are bound to make this a favourite.
“We’re All the Same in the Dark” has a cool groove and a jaw dropping funky Morse solo. Purple haven’t sounded this funky since Glenn Hughes was in the band. Airey and Glover give it some heaviness. “Nothing At All” sounds like a Morse composition, but his intricate classical-inspired interplay with Airey is sheer delight. This could be the best track on Whoosh!, and contender for one of the best songs of the entire Morse era. A massive chorus could help this one cross over on radio. Though it’s a far different song, “Nothing at All” has elements that recall “Never A Word” from Bananas. A regal-sounding crowning achievement.
“No Need to Shout” opens with the growl of a Hammond. “Just a bunch a crap, you’re talkin’ out your hat!” sings Ian on a song featuring rare female backing vocals. This is one of a few new Deep Purple songs that display a pissed-off attitude. “I got your message loud and clear, the meaningless ringing in my ear.” Add in a couple naughty words and you can tell Ian isn’t having any of it. Cooler though is “Step By Step”, a very different kind of song with perhaps some lineage with “Vincent Price” from Now What?! The haunting, ghostly quality of “Step By Step” sets it aside with a cascade of keyboard accents.
Purple start to boogie on “What the What” (a friendlier way of saying “What the Fuck”). While Don’s hammering the keys, Steve stabs out with some tasty guitar twang. If any song recalls “old” Deep Purple, it’s “What the What”, which could have been on 1973’s Who Do We Think We Are! But that album completely lacks the joie de vivre of “What the What”. Then Purple get heavy on “The Long Way Round” which just drives. The keyboard solo is out of left field but is a spacey masterwork to itself. There’s even a sly Black Sabbath callback — “I promised myself I would not get Trashed again.” Then the song dissolves into a beautiful, quiet stream of notes. This serves as a great lead-in to “Power of the Moon”, an excellent track previously heard on the “Throw My Bones” single. It stalks prey in the cover of night.
Another heavy growl unexpectedly opens “Remission Possible”, an absolutely smokeshow of fretwork. It’s a brief instrumental interlude just before the excellent “Man Alive”. This track, enhanced by orchestra, sounds absolutely massive. It has serious heft, but it’s not weighed down. Ian is writing about some heavy themes and it will take deeper analysis of the album as a whole to decipher them all. Roger Glover was very happy with Ian’s writing on the album, which takes a more contemplative tone without going heavy-handed.
The final side of vinyl begins with another instrumental, the aforementioned “And the Address” from Shades Of. Deep Purple have occasionally re-recorded old material with new lineups, such as “Hush ’88” and “Bludsucker”. This cut of “And the Address” has more momentum. The only guy present who played on the original is Ian Paice, but Don Airey is a dead ringer for Jon Lord. “And the Address” is one of the most enjoyable songs on Whoosh!, probably surpassing the original recording.
There’s still one track to go: the “bonus track” called “Dancing In My Sleep”. Safe to say it’s called a “bonus track” because it’s the most different of all the songs. It’s an Airey conception based on a cool little techno beat. Though it’s certainly not dance music, it does have one foot in that world and it’s a sheer delight to hear Purple stretch out into new territory 52 years into their game.
A seriously fine album this late in the career. An album so fresh that it is hard to rate so soon. But clearly a high point, with a band still exploring new ideas completely unafraid of what people might say. In fact, a band who still has something to say. Something worth listening to.
But that’s not all of course. Go big or go home. Check out the rest of the box set’s contents in detail below.
The Infinite Live Recordings, Vol. 2
The previously released Infinite Live Recordings, Vol. 1 came out in 2017. The concept behind the series is simple: pure live releases with no overdubs. Vol. 2 comes from a show in 2017 on the Infinite Tour in Rio. It is the big bonus in this box set, and present on a set of three beautiful 10″ coloured records. 72 minutes of live Purple — essentially, a double live album.
The opening thunder of “Highway Star” is robust on purple 10″ vinyl. How these guys can still blast through it full speed is unknown, but they do it. Mr. Gillan still gives it his all, which is not the same in 2017 dollars as it was in 1970 dollars, but still more than the average mortal his age. Mr. Morse and Mr. Airey give each version of “Highway Star” a different feel, while Mr. Paice in the back is the only original member left from the 1968 lineage. Sticking to Machine Head, Purple seamlessly go into “Pictures of Home”. The old familiar groove of Mr. Glover is comforting warmth from the emptiness, eagles and snow. Morse’s solo is a composition to itself, and then Airey gets to put his spin on Jon Lord’s classic organ solo. Then it’s an unfortunate side flip as the band goes back to In Rock with “Bloodsucker”. Gillian is more a verbal timekeeper than the screamer he once was, but the track is otherwise flawless and heavier than lead. A more mainstream hit, “Strange Kind of Woman” flows from that, and relaxes the groove a bit. Don Airey gets his first of two solos (this one organ) as the last track on this disc.
The action continues on transparent burgundy vinyl, and “Lazy”. Morse’s signature string bending is the star of this show. There are a couple different twists in this fresh version including a nifty Gillan harmonica solo. Then it’s the only new song of the set, “Birds of Prey” from Infinite. It’s weighty and worthy of its place. Steve Morse is the Captain on this flight. Gillan ends the track on a joke and then, after a side flip, introduces Don Airey’s keyboard solo including Ozzy Osbourne’s “Mr. Crowley”. This diverse and fun solo goes into “Perfect Stranger” (no “s”?) which has steadfastly remained in the setlist ever since its 1984 conception. Gillan is shaky but the Purple is solid.
The final vinyl, clear 10″ power, commences with “Space Truckin'” signalling the beginning of the end. “Smoke on the Water” is the penultimate moment, slow and groovy after all this blazing rock. Ian Paice has a couple nice moments on this one and Steve Morse’s stuttery solo is completely compelling. One more side flip, and Purple end the set with their first hit “Hush” and the “Peter Gunn” theme. Glover goes funky on this one with a bassline a little like “Another One Bites the Dust” in parts.
An entertaining and good live album, but one you won’t play often simply because Deep Purple have 846 live albums (exaggeration).
There is still more live material from the same tour in DVD form included in this box set.
Live at Hellfest
Next we have a double feature DVD: A live show from Hellfest in 2017, and an interview session with Roger Glover and Bob Ezrin. The Hellfest show has a much longer runtime with more new material. They open the show with “Time For Bedlam” from Infinite. Ian doesn’t even attempt to sing it in tune, but we’ll always cut the guy some slack for still getting up there and givin’ ‘er. The track has a “Pictures From Home” vibe, and the band look cool playing midday in shades. Into “Fireball”, Ian Paice leads the charge as if it was 1971. Don Airey has an Ozzy bobblehead on his keyboard! Then it’s “Bloodsucker”, powered by Paicey. “Strange Kind of Woman” is a nice melodic respite after a pair of piledrivers like that. Ian ends this one with a bizarre freeform spoken word beat poetry bit, but with Morse shredding next to him.
The Jon Lord tribute from Now What?!, “Uncommon Man”, is heartfelt, and a solid track from their current era. It sounds massive. As good in quality is “The Surprising” from Infinite, something of an epic, and performed with full gusto. Intricate symbol work by Paice.
After a brief pause, it’s on to Don Airey and “Lazy”. A high speed workout like that merits something slower to follow, so it’s “Birds of Prey” from Infinite, a steady groove with dynamics. Steve Morse’s solo takes center stage and it’s a melter. “Hell To Pay” picks up the pace. Not Purple’s most remarkable single, nor the best version, but nice to have in live form. Airey’s jammy keyboard solo on this track is stellar, just as the sun starts going down. Then he gets his own full-blown solo, with the Ozzy bobblehead there next to him during “Mr. Crowley”. Roger Glover just watches from the side as Don goes to town through familiar melodies and themes. The crowd eats it up smiling.
Don takes it into “Perfect Strangers” without missing a beat, and soon the rest of the band joins him. This version has some stellar Morse guitar trickery. The set is almost finished, with only “Space Truckin'”, “Smoke on the Water”, “Hush” and “Black Night” left to satisfy cravings for the classics. Even at the end Paicey still brings that thunder. “Hush” has the “Peter Gunn” theme attached, and “Black Night” brings the show to a massive finish.
It’s absolutely delightful watching Ian Paice play the drums, as he mouths along to every beat as if playing beatbox along to himself. It’s fantastic and an expression of pure joy.
It’s not over yet. The DVD has even more content.
Roger Glover and Bob Ezrin in Conversation
The DVD also includes the conversation with Roger Glover and Whoosh! producer Bob Ezrin. This is another full 70 minutes of content. Ezrin was involved with Purple from the jamming stage in Nashville and speaks in terms of “we”. One of the biggest takeaways from this interview is a piece of wisdom from the late Jon Lord as told by Roger Glover. Lord didn’t want to do more than two takes of a solo. More than that, and he starting thinking too much.
The pair discuss the lyrics, the songs, the title (nicked from Faulty Towers), the playing, and more. It’s lovely watching the pair just enjoy Steve Morse’s harmonics. “Like capturing lightning,” says Roger. Watching this portion of the DVD will enhance your enjoyment of the album. It’s fun knowing what parts of the songs turned on the musicians and producer. “Stretch out,” advised Bob. And so Purple interpreted that as stretching it out every way. “I wanna put the Deep back in Purple,” said Bob. The boys also praise Ian Gillan’s focus, from eating right to meditating. They even go back in time and talk about Glover’s joining of Deep Purple in 1969.
Ezrin particularly loved seeing magic unfold live before his eyes and ears, captured on tape. He is obviously a fan of Deep Purple as musicians and as people. Whether you can get into Ezrin-era Purple or not, there is real chemistry between band and producer.
You’ll probably only watch this conversation once, but you’ll be glad you did that at least. There is so much knowledge and history to absorb here that all fans are advised to give the whole thing a spin.
The box set itself comes with a cool black T-shirt with the “strolling dissolving astronaut” graphic. This is the second album in a row with simple excellent art design for Deep Purple. The astronaut recalls the music video for “Knocking At Your Back Door” from 1984. He appears in numerous places in this set in different forms. There are three art prints (two 12×12 and one 12×6), and of course all this music! The vinyl copy of Whoosh! comes in a gatefold sleeve with credits and photos. It sounds phenomenal with plenty of bottom end. For lyrics, you’ll have to dig into the included CD copy.
Of course, if you don’t need all the extra live stuff and added goodies, you could just buy Whoosh! on CD, vinyl or download. It’s frequently said that the benchmark for Purple is Purpendicular. “Best album since Purpendicular,” fans often enthuse. Whoosh! could be the best album of the Ezrin era, and is a contender for best of the Steve Morse epoch. A serious fan will want the whole box with the three live 10″ discs. They are beautiful to look at and sound good on the turntable. Though the set is expensive, this is the kind of thing I’m willing to pay for.
“Later” records by bands are often overlooked in favour of a handful of classics, usually released early in a band’s first decade. Here is one that should not be ignored: We Are the Same, The Tragically Hip’s mellow 2009 offering. Sure, the Hip had plenty of late career highlights. But something about We Are the Same just connects. It’s like plugging your soul into the great wide Canadian open, autumn-coloured maple leaves tossing in a cold breeze. The rustling is accented by a softly wafting smell of coffee.
We Are the Same sounds (for a largely acoustic album anyway) absolutely massive. Thank you, Bob Rock. Perhaps there’s even a concept to this Gord Downie-driven album: it opens with a song called “Morning Moon” and ends with “Country Day”. From the beginning, the chords of the Canadian prairies jangle on acoustic guitars. Familiar hints of Neil Young and Gordon Lightfoot fill the room, while Downie sings of a golden Labour Day.
You’ll hear lush string and piano accompaniment all over We Are the Same (piano by Barenaked Ladies‘ Kevin Hearn). Take second track “Honey, Please” which is as pop as the Hip were ever likely to get. Johnny Fay’s snare drum splashes are the only recall from the old days. Then, one of the most luxurious tracks. It’s also one of the best: album highlight “The Last Recluse”. It delivers strange melodies wrapped in lonely imagery. “Who are you? The last Canada goose”.
Geoff over at 1001albumsin10years says “I have argued it is the best side 1 in the catalogue.” I wouldn’t dare disagree.
“Coffee Girl” with its loop-like drums and trumpet solo is one of the more unusual, but also most successful compositions. Downie had a miraculous way with words.
Your favourite mixed tape, You popped it into the deck, Don’t care if it’s out of date, Old Cat Power and classic Beck.
The first big rock chords come crashing down on “Now the Struggle Has a Name”, also adorned with regal strings. As great as it is, it’s just preamble to a Hip epic: “The Depression Suite”, a multi-parted masterpiece. It sparkles and growls, brilliantly and eloquently through a maze of quintessential Gord travelogue lyrics.
Peaking with a track like “The Depression Suite” only means the second half of the album has much to live up to. An Aerosmith-like “The Exact Feeling” (can’t you just hear “Jaded”?) is the first song that feels like a drop. But then “Queen of the Furrows” is a gentle acoustic song with delightful picking. Until an explosive chorus kicks in, drawing your attention again. Cool noisy guitar solo to boot!
The final four tracks are consistent, with “Frozen in My Tracks” being the strangest and heaviest, and “Love is a First” the strongest. Its’ beat poetry and sharp bassline are the main hooks, but the chorus is a blast. Yet it’s still clearly a case of the final few songs living in the shadow of the first.
An album this brilliant needs to be enjoyed over time, but do be sure to add it to your collection. [See below for our recommended edition.]
…Since you’re going to need this album one way or another, our recommended version if you can find it, is the “Kollector’s Krate”. Kool Krate’s were an inconvenient way to store discs, but here’s one with a Tragically Hip logo on it. Stuffed inside: a We Are the Same T-shirt, and a rare live bonus CD. Whether Live From the Vault Vol. 4 is worth over $300 or not, that’s between you and Discogs. (And that’s just the CD, without the Krate or T-shirt!)
KISS – Kiss Rocks Vegas (3 CD/1 Blu-ray Japanese import, 2016 Eagle Rock)
Kiss put on a hell of a show for their nine gig run in Las Vegas. You could argue that spectacle is 50% of the Kiss experience. That said, the audio has to hold up, and it does. I gave it two spins before review: one at home and one in the car, and only after that did I put on the Blu-ray. As expected, Paul Stanley’s voice is the chink in the armour. But it is the only one. This is one of the most musically capable versions of Kiss ever, and vocally they can’t be touched. When Tommy Thayer, Eric Singer, and Gene Simmons start to harmonize together, it becomes a far stronger beast. This is how Kiss have adapted to Paul’s current vocal shortcomings, and on a whole it works. Check out “Tears Are Falling” for a version of a song that gets a serious boost thanks to these guys singing backup. Now get ready to rock for the next 80 minutes. Of note, some of Paul’s stage raps are trimmed for time on the CD version, as is Gene’s “bass solo”/blood spitting/flying. The video has the whole enchilada.
The audio is clear; Gene’s bass nicely audible and in the pocket. With the 5.1 surround sound cranked, let’s dive into the Kiss Blu-ray, a fine shining example of hi-def rock video. You can try to count the sparkles on Paul’s guitar, when they open with “Detroit Rock City”. Their stage looks like a cross between the Creatures-era tank stage and a Dalek. Giant screens ensure everybody gets a good view, which is a good thing since there is so much going on. From “Detroit” into “Creatures” itself, and then “Psycho Circus”, Kiss started the show with three of their classic openers from three different eras! On screen it’s clear Paul Stanley is still in excellent physical shape. He doesn’t look like someone who’s had a double hip replacement. He hops around a bit, plays guitar between his legs, and dances up a storm as always.
Kudos must be given to Tommy Thayer, who takes many of the flashier solos from 80’s Kiss and adapts them to the style of the 70’s that Kiss tend to ply most. Tommy’s re-imagining of guitar solos and giving them a Frehley-like vibe is one reason to check out new live versions of these Kiss classics. Never to be underrated is Eric Singer, a talent to be reckoned with in this band. His beats are always perfect, but so is his voice. As usual, he sings “Black Diamond” towards the end of the show, with respect and class.
Other setlist highlights:
Gene’s “War Machine” from Creatures(Gene blows fire at the end). Paul’s “Tears are Falling” from Asylum (“Some of you weren’t born in 1985!” says Paul, accurately observing his audience). “Lick It Up”, featuring Kiss’ sometimes-segue into “Won’t Get Fooled Again”. “Hell or Hallelujah”, from Monster. “God of Thunder” with its flying Gene, and playing way up high on a tiny little platform. Paul running out to sing on a catwalk suspended over the crowd on “Love Gun”. All of this is served up with lights, lasers, explosions, levitating platforms and larger-than-life sparkle. Kiss still deliver it.
Admittedly, when there is so much great live Kiss from the past out there, it’s hard to get excited about a new one. (Why watch a 2016 live version of “War Machine” when you can watch one from 1983, 1984, 1988 or 2004?) The added bonus that makes the whole thing hard to say no to is a seven song acoustic set. This is a makeup-free event in a packed conference room. A few more rarities are served up here, such as “Love Her All I Can”. The loose atmosphere is refreshing. They goof around a bit on “Christine Sixteen” (in harmony!) and Paul helps with some forgotten words on “Goin’ Blind”. Just don’t go and compare these with the acoustic ones on MTV Unplugged. That was 20 years ago. Controversially, Eric sings “Beth”. The mitigating factor is that this is a small event for fans and not part of the main Vegas concert. It’s worthwhile to get a version of this release that contains the acoustic portion on the bonus CD.
The Japanese release is an interesting one. Instead of one CD, the Vegas concert is split over two. This is probably because the concert is close to the 80 minimum maximum that a CD can hold, and the Japanese usually adhere to a higher manufacturing standard. They also included a nice T-shirt in a shiny, embossed box.
As usual, any time Kiss release new product, fans will bitch that they’re over the hill. They’ll complain that there are only two original members left, and that Paul’s voice is but a shadow of what it once was. While these things are indeed true, Kiss have found a way to continue on with two talented members helping Paul out with the vocal burden. If you don’t like it, fair play. But let the rest of us continue to enjoy Kiss without your negativity.
1. “Detroit Rock City”
2. “Creatures of the Night”
3. “Psycho Circus”
5. “War Machine”
6. “Tears are Falling”
8. “Lick it Up”
9. “I Love it Loud”
1. “Hell or Hallelujah”
2. Tommy guitar solo
3. “God of Thunder”
4. “Do You Love Me?”
5. “Love Gun”
6. “Black Diamond”
7. “Shout it Out Loud”
8. “Rock and Roll All Night”
CD 3 – Kiss Acoustic
1. “Comin’ Home”
2. “Plaster Caster”
3. “Hard Luck Woman”
4. “Christine Sixteen”
5. “Goin’ Blind”
6. “Love Her All I Can”
First up to bat, my good buddy Aaron, (who as you all know loooooooves Mastodon) decided to rectify the situation that I didn’t yet have their latest album Once More ‘Round the Sun. Which I can tell you, is awesome. Mastodon have a lot of what I liked best in metal, and this album lives up to the hype. I’m really into track 6, “Asleep in the Deep”, which has a very cool chiming Voivod-esque riff.
Proceedings got off to an unofficial start yesterday at noon. We do a monthly lunch out at work regularly, and this one fell on the Friday before my birthday. My co-workers bought me lunch at Beertown, which was very very good. Above, some beer & cheddar soup, as well as some lovely truffled sweet potato fries. I also had some battered calimari.
Jen and her mom always gets me the best T-shirts. Above, two Big Bang Theory T’s, the infamous Walter White, and a spiffy Led Zeppelin swearshirt that will definitely be worn to next year’s Sausagefest.
They also bought me Transformers. FansToys are making some absolutely astounding G1 Masterpiece-class Dinobots right now. Scoria aka Slag is a beautiful, heavy figure. He looks great next to MP Grimlock and MP Prime. If you like Grimlock, you will love this figure. Thank you to Jen’s mom for this amazing figure. I will definitely be getting Swoop. Jen also got me the new Generations Skrapnel/Shrapnel and Reflector, which I also like a lot, for a Scout-class figure.
We went to Mother’s Pizza for dinner tonight. Thanks Dad! I had the small “Grandmother’s”. It tasted a lot like I remember it tasting almost 30 years ago. It had lots of olives and mushrooms, which I topped with double cheese.
Neil DeGrasse-Tyson’s Cosmos on Blu-ray is an absolute treat. Thanks Jen. I hope you don’t mind watching the whole series, over again with me! She also picked up Paul Stanley‘s Face the Music, which I hear is a great read! And who doesn’t like jellybeans?
Thanks everyone for all the birthday wishes. It was a great, laid back day!
BLACK SABBATH – 13(2013 Universal deluxe, Best Buy, and Spotify editions)
Last year, Uncle Meat gave us his detailed review of Black Sabbath’s 13. (His rating: 3.25/5 stars. Check out his full review for the scoop on the first CD of this metal monolith.) Having had almost a year to live with it myself, I think it’s time I got around to reviewing the songs he didn’t: the bonus tracks!
The deluxe and Best Buy editions have “Methademic,” “Peace of Mind,” and “Pariah.” “Methademic” is cool for being a fast-paced heavy rocker, something I associate more with a Dio kind of sound. It’s a good track, good enough that Sabbath play it live. Geezer’s got a serious groove going on with the bass part, and Brad Wilk is playing with furious drive. You wouldn’t consider this song to be as good as any on the first CD of 13, but it’s a great bonus track.
“Peace of Mind” is of equal quality to “Methademic.” This time Sabbath have gone back to doomy, but Ozzy’s vocal melody takes it to a special place. All it’s missing is that looseness that only Bill Ward could provide. It sounds so authentically Black Sabbath, but if you concentrate on the beat, you can hear that the loose swing of old is not there. Having said that I enjoy “Peace of Mind” very much, especially when it picks up after the 2:15 mark.
My favourite of this trio of songs is “Pariah.” It occupies a mid-paced groove which chugs along nicely. Tony has a couple cool riffs in it, but once again Ozzy’s vocal seals the deal. Tony’s guitar solo is icing on the cake. I love when he has a chance to slow down and play bluesy, as he does here.
Japanese fans, and Best Buy shoppers have their own exclusive bonus track, and it’s the one with the best title: “Naïveté in Black.” You have to love that. This smoker is similar to “Time Machine,” from Dehumanizer. I don’t know why a song this good was left to Best Buy, because it’s better than the other three. It’s definitely unique among the 13 songs for sounding more like Dio-Sabbath than Ozzy-Sabbath; perhaps that’s the primary reason. Count me as a big fan of “Naïveté in Black.”
Finally even Spotify have a bonus track, which is “Dirty Women,” live. This is with Tommy Clueftos on drums, from the same show as the recent Gathered In Their Masses live DVD (but not the CD). I am fortunate enough to have an excellent quality copy of the song burned to a CD, the perfect final bonus track to 13.
But that’s not all folks. With the deluxe box set edition, there’s a DVD as well. There is a brief documentary about the reunion and recording of the new album. There are quite a few humorous moments, but I do not consider this to be much of a bonus. All this stuff is available for free on youtube. I don’t value a physical copy of something like this as much as I value a physical copy of a song.
Fan – “I came all the way from Croatia!”
Ozzy – “Where the fuck is that?”
The deluxe set is large and very nice to look at, but I considered it sparse in terms of worthwhile goodies. There are lots of large glossy photos, but they’re not up to handling repeatedly. There’s a print of the “God Is Dead?” single art, a 2 CD set (minus “Naïveté in Black”), and 13 on double 180 gram vinyl LPs. Everything is lovely and fragile. There’s also far too much room in the box itself for everything, so things move around inside. That’s a bit of a design flaw just to save on some extra cardboard packaging.
The Best Buy set came with a T-shirt, which I have kept in-package. You can find pictures of both versions below.
RECORD STORE TALES Part 273:
Purp Ate My Balls Redux: Special Edition
I am thrilled to have discovered all the missing pictures of the infamous “Purp Ate My Balls” gallery. This isn’t everyone who owned the shirt, just the ones who took pictures.
What’s the “Purp Ate My Balls” shirt? Well, to quote the original story, Part 227:
10 years ago my online handle was “Purpendicular.” (Gee, where did I get that name from?) ”Purp” made a good short-form nickname. For whatever reason…and believe me I wish I could remember…Sarge decided to make and give out 40 or 50 “Purp Ate My Balls” shirts! He gave them to all his shop employees (Metal Fatigue in Bournemouth) and I’m pretty sure all the Klopeks ended up with them too.
Here’s a whole lotta pictures of English people wearing me on their shirts!
“Purp Ate My Balls”
I also found the original photo that started it all!