VHS

#1226: The Wayne’s World Drumsticks

RECORD STORE TALES #1226: The Wayne’s World Drumsticks

They weren’t my drum sticks, but like many things that belonged to my sister, I claimed them as “ours” not “hers”.  It was she that got Wayne’s World on VHS.  The tape came with a free pair of Wayne’s World drumsticks.  They were cheap and warped (a common issue), but they were not meant to be played.  They were intended to be a collectible for fans of Wayne Campbell and his drumming friend, Garth Algar.

Wayne’s World was a worldwide phenomenon when it was released to cinemas in early 1992.  I myself went to see it twice in the space of 24 hours.  When it was released on VHS just in time for Christmas, it was everywhere.  You could buy it at the grocery store if you wanted to.  Mike Myers and Dana Carvey’s loveable metalhead characters had become cultural icons in a very short span of time, with “Not!” and “Yeah, right!” becoming immediately popular punchlines in youth culture.  Myers has a knack for that kind of impact.  He did it again in the late 90’s with Austin Powers and “Oh, behave!”

Drums were always an instrument I was fascinated by.  I would sit on the edge of my bed and play air-drums to my favourite songs.  When Kathryn acquired the VHS tape/drum stick bundle for Christmas, I upped my air drum game.

I set up some pillows on my bed and practised smacking them with my…her sticks.  It looked and sounded stupid, but it was physically fun to do!

Switching gears a moment, when final exams rolled around, I spent a lot of time studying.  It is a tedious task, but I had a proven method.  I would comb through my class notebooks, and make a set of point-form notes on all the key subjects and sub-subjects.  Then I would reduce those notes to a list of keywords.  I would then memorize the list of keywords.  It was very mechanical but it worked.  If I could remember that list of keywords, I could trigger the memory of what I wrote in my point-form notes, and retain enough of the facts and figures to  pass the exam.

Memorising a list of words and phrases is a tedious, mechanical task.  It lent itself well to rhythm.  So, eventually I would get to the point where I would be in my room reciting this memorized list, pounding out the words to the beat of the Wayne’s World drum sticks.  Pillows on the bed, notes scattered about, and me saying seemingly random words like, “Max rebellion”, “Francs”, “Rhine/Rhone”, and other phrases designed to trigger a memory of a series of historical events.  Pounding out the words with the drum sticks hitting the pillows in little thuds.  Eventually I drove all those words into my head, in order!

That’s the true story of how a pair of warped Wayne’s World drumsticks that weren’t even mine helped me pass my Ancient History classes.

🅻🅸🆅🅴 50 Years of IRON MAIDEN episode 17: Raising Hell – Bruce’s “Final” Show

50 Years of IRON MAIDEN episode 17: Raising Hell – Bruce’s “Final” Show

A special 🅻🅸🆅🅴 episode

GRAB A STACK OF ROCK #108

Scream for me, YouTube! For the “Final” time, Bruce Dickinson takes the stage with Iron Maiden, at Pinewood Studios in the UK.  It was a big pay-per-view worldwide TV broadcast.  Recorded 28 Aug 1993, the Air Raid Siren bid farewell after 11 years in Iron Maiden.

Released on VHS on 5 September 1994, the Raising Hell show is controversial for one main reason:  Simon Drake.  A “horror magician” that was invited not to open the show, but to perform alongside and during the show, Drake’s “magic” was a unique addition to Iron Maiden.  Drake had his own segments on a side stage, but also interacted with the band on “From Here to Eternity” and other segments.

Even watching the show without Drake’s segments, it’s an odd one for Iron Maiden.  A smaller stage inside a studio is an unusual place to see an Iron Maiden concert.  Still, history unfolded that night, and Harrison and I are here to tell you all about it.  And show you, too:  we will run a selection of the Simon Drake bits for you to…enjoy?

Tonight’s episode of 50 Years of Iron Maiden ends the reign of Bruce, as we soon embark on the era of Blaze.  Tune in tonight and join the comments!

 

Friday July 11 at 7:00 P.M. E.S.T.  Enjoy on YouTube or Facebook.

Past episodes:

Handy YouTube Playlist:

Harrison Be Thy Name: 50 Years of IRON MAIDEN episode 13: Maiden England post-show summary

Clash of the Titans!  Mike and Harrison disagree sharply on one song on Maiden England ’88 and you’ll see it happen in this live episode of 50 Years of Iron Maiden from Friday night.

In this celebratory episode, we dissect this double CD song by song, including all the encores.  We discuss, and show off, different releases.  We talk about the mix, the video, the cover art, and all the usual details.  We also allow Slash from Guns N’ Roses a minute of showtime to talk about touring with Iron Maiden.  His answer angered some Maiden fans on YouTube.

The lively comments section allowed us some back and forth, and a looseness that we don’t get with the pre-recorded episodes.  For that reason and more, this was a very fun episode!  Check it out if you missed it.

See you in two weeks, for No Prayer for the Dying with Reed Little.

Past episodes:

Handy YouTube Playlist:

 

 

 

 

 

 

SHOW NOTES:

 

Recorded 27–28 November 1988 Live at the National Exhibition Centre, Birmingham

Released 8 November 1989 (VHS) 1994 (CD/VHS)

Length 95:00 (video, approx.) 74:27 (audio) 100:30 (2 CD reissue)
Label PMI / EMI
Director Steve Harris
Producer Martin Birch

1. “Moonchild”

Recorded intro is from album.  New track up for #1 and a great opener it is.  Bruce’s voice is absolutely stunning here, as he goes slightly off album format and lets it rip without rasp.  Baby crying represents birth of the seventh son and is new audio.

2. “The Evil That Men Do”

New track up for #2 and Bruce still powering through, and not an easy song to power through.

3. “The Prisoner”

Back to Beast for #3, and the audience is all there for it, punctuating the riff with “YEAHS”!  Adrian sounds great on backing vocals – integral to the live version.

4. “Still Life”  (single B-side)

Finally a live version of Still Life!  It is everything you want it to be, if you are a Piece of Mind fan.  Heavy parts are faster and heavier, Bruce’s vocals are more off the hook.  He messes up the second last line:  “Coming all the time, now we rest in peace!”  Should be “Always after me”.

5. “Die with Your Boots On”

Solid workmanlike version.  Bruce has a little more fun with varying the vocal line than on Live After Death.

6. “Infinite Dreams” (single A-side)

Wisely alternating new and old material.

7. “Killers” (single B-side)

“Gimme some bad dreams, this one!”  One of the best live versions of Killers on CD.  Absolutely vicious and perfect for following Infinite Dreams.

8. “Can I Play with Madness” (VHS only)

Backing vocals are flatter live (Steve?) but this is the first live version released of this now-classic single.  Bruce throws in lots of extra “yeah yeah yeah-hah” lines.  Set tends to focus on newer songs for the next batch.

9. “Heaven Can Wait”

A song for those who might be worried about their ultimate disposition up there or down below!  Top notch live version of this now-overplayed song.  It was fresher back then.  Faster; drags less especially in the woah oh oh section.  (I also like “That’s it – end of the song!” at the end.)

10. “Wasted Years”

And finally a live version of Wasted Years!  First real time Bruce struggles with the song, but it still sounds brilliant.  It’s a challenging song of course.  Minor differences in Adrian’s solo too.

1. “The Clairvoyant”

This single sounds great live; tad faster.  This is not the live version from the previous single A-side.

2. “Seventh Son of a Seventh Son”

Without any introduction, we go forth into the concert epic.  Replacing Rime of the Ancient Mariner, the song proves its mettle in filling that role.  Perhaps superior to the album more?  More drive, Bruce more off the chain?

3. “The Number of the Beast”

Back to the classics not much to say here.

4. “Hallowed Be Thy Name”  (VHS only)

Vocally awesome – Bruce holds that one note nice and long.  Equal to the Live After Death version?  Vocally Bruce is weaker, but singing it more “straight” without weird accents.  Davey’s solo – bonkers!  Adrian’s – composed intensity!  Pick scrapes galore!

5. “Iron Maiden”

“Yeah let it rip!”  Oldies to the end, with plenty of Di’Anno era rock.  This operatic version of Iron Maiden is fast and fun.

6. “Run to the Hills”  (2013 CD)

Abrupt sonic shift; you can hear  that these are the “bonus tracks”.  The obligatory Run to the Hills is here and there’s not much more to say.

7. “Running Free” (2013 CD)

Great version here.  Pay special attention to Nicko’s drum fills, which are animated and plentiful.  Bruce says this is the biggest indoor crowd they have played to in England.  Bruce does tell them that they are recording a video.  No big long “I’m Running Free, yeah!” section – just a couple times.

8. “Sanctuary” (2013 CD)

A smashing closer!  Steve’s bass is perfect in the – prominent enough to hear his upper neck melodies but not dominant.  Bruce does a short “Yeaaaaah” thing, but not as annoying as before.  Lets the crowd do it.

🅻🅸🆅🅴 50 Years of IRON MAIDEN episode 13: Maiden England

50 Years of IRON MAIDEN episode 13:  Maiden England

A special 🅻🅸🆅🅴 episode

GRAB A STACK OF ROCK #103

50 Years of Iron Maiden arrives at the cottage for the first time!  Like we have for past live albums such as Live At Hammersmith and Live After Death, Harrison and I will be doing this episode for Maiden England as a live broadcast.  Much like Live At Hammersmith, this album often falls under the radar.  It was recorded for a home video release, directed by Steve Harris.  Unusually, this home video spawned one single, “Infinite Dreams” live.   A live album was an afterthought and was not even released as one until Bruce Dickinson was out of the band in 1994, and even that CD was missing two songs from the VHS for time reasons.  It was finally reissused as a full show in 2013; an expanded 2 CD set with the encores restored.

The band were recorded on the Seventh Tour of a Seventh Tour, over two nights in Birmingham, playing a number of new songs from the album.  They also resurrected a couple from Somewhere In Time, and Piece of Mind, that were a delight to hear.  Reaching back to the Di’Anno years, they provided a pleasing setlist full of fresh songs and refreshing oldies.  Harrison and I will break it down for you, and hopefully entice you to give it a listen.

For physical media, we have a CD copy of the “Infinite Dreams” single from the First Ten Years box set, the 2013 double CD reissue, and the 1994 CD/VHS combo pack.

Please drop in and say hello for this special live analysis and appraisal!

🅻🅸🆅🅴 Friday May 23 at 7:00 P.M. E.S.T.  Enjoy on YouTube and Facebook.

Past episodes:

Handy YouTube Playlist:

RST #1183/VHS Archives #154: 2 Minutes on a Wednesday at Work in the late-90s

RECORD STORE TALES #1183: 2 Minutes on a Wednesday at Work in the late-90s

 

In the 90s, the Beat Goes On were advised by the police to install a video security system.  Though it was rarely helpful, they suggested it could be used to catch CD thieves who came in to us to sell their stolen goods.  The one time I know it was used in court, the tape was too fuzzy to identify the thief.

Can you identify me?

We had seven security tapes:  One for each day of the week.  We’d rotate them.  Every few years they would wear out, and you’d have to replace them.  That’s how I got this tape.  It was a freebie that the boss didn’t need anymore.  Truth be told, half the time, we didn’t even bother to record.  Each tape was only good for eight hours, so we could not record the entire day anyway.  We’d usually insert the tape at around 1:00 PM so we could record the night shift.  This was supposedly done to record during the “most dangerous” hours.  I gave the camera the middle finger a few times, but nobody saw those tapes, I suppose.

One of our old employees told me he liked to take the security tapes home and get high watching them.  I ended up keeping only this one.  Unfortunately, I chose a very boring Wednesday tape with nothing interesting going on.  If you’d like to see for yourself, have a look at the quick video below for a day in the life at the Beat Goes On.  Glad I kept it for one reason only: this physical location no longer exists and is now part of a parking lot.  History!  This is the only existing video documentation of my old store of which I am aware.

Friday Preview! A Massive Music Haul!

I came home from work last Friday to find not one, not two, not three, not four, but FIVE parcels containing new music!  Of course, if you unbox something these days, you have to do it on camera.  All of this music will receive a closer look on our annual Good Friday Afternoon Show on Grab A Stack of Rock, tomorrow!  However, nothing can top the first look at a musical surprise!

Catch my reaction as I look at:

  • Six versions of the Darkness’ Dreams On Toast album, which will be discussed in more detail on Friday.
  • A brand new EP of previously unreleased music by Mystique!
  • Killer metal from the UK.
  • A surprise gift of a Japanese import.
  • A very special gift from Blotto!

All here in this spontaneous and magical unboxing video!  Tune in tomorrow for our Good Friday show and a deep dive into all this new music, and much more!

#1110: Happy Winter Memories Vol. 3 – Rocking the Basement

RECORD STORE TALES #1110: Happy Winter Memories Vol. 3 – Rocking the Basement

To an unsporty Canadian kid, growing up in a cold climate had its disadvantages.  I didn’t give a fuck about hockey (to coin a phrase from Gord Downie), and nobody likes to shovel.  The only good thing about fall and winter to me were Christmas and the return of my TV shows, like the Transformers and GI Joe.  Otherwise, it was like hibernation.  There were a lot of things I wanted to do and could only do outdoors, so I passed the time inside with my music and shows.

In a sense, winter was the best time for my friendship with Bob Schipper to flourish.  In the summer we’d be outside a lot, riding bikes or hitting balls.  Or, just getting into trouble as we often did.  During the colder months, we spent more time being creative.

A typical Mike & Bob winter Saturday morning would go as follows:

Around 10 AM, Bob would pop by my place.  Our creative Saturday mornings would usually happen at my house.  Bob’s parents were more strict than mine, and we could listen to music in the basement.  The basement was the best place because that is where the big TV with the VCR was.  That was where MuchMusic lived.  My VHS collection would grow video by video, week by week.  The Pepsi Power hour ran twice a week (“Molten” Mondays, and Thursdays) and I would collect music, clip by clip, on my VHS collection.  It would be my responsibility to show him what was new in music.

We did not always agree!

Savatage struck me from the moment I saw “Hall of the Mountain King”.  It was the riff, the singer, and of course the little guy running through the caves looking for the king’s treasure.  I had to record it.  I thought Bob would really be into this song.  It had a lot of what we both liked:  nice, heavy melody metal with a screamin’ singer.  Disappointingly, he was not as impressed as I was.  He thought the video was less than great, and the singer not as impressive as I hyped him.

On the other hand, one viewing of “We Came to Rock” by Brighton Rock had him hooked immediately.  In this case, singer Gerald McGhee really did blow him away.  That scream at the end of “We Came to Rock” made his jaw actually drop.

If music videos were not on the menu that morning, I would bring my “ghetto blaster” downstairs and we would play whatever newest tape one of us had acquired.  If it was a good one, we’d dub each other a copy.

Then, out came the paper and we would get down to creating.  We were very much into drawing military vehicles, cars, and muscle-type men with warrior’s garb and jagged guitars.  Our self-portraits were always masked, muscled, and flexing.

We would fantasise about being on stage.  We’d picture the drum riser, and why not have it elevate?  We would both be singers and guitar players, sharing lead duties from song to song.  It had to be democratic.  We came up with cool melodies and song titles.  Mostly though, we sang our lyrics to other peoples’ songs.  Of course, I can’t repeat the lyrics to anyone.

The two of us had enough creativity to power the world for decades.  If only we had the technology to do the things we really wanted to do!

Still, it was in that basement during the coldest of months that Bob and I amassed binders full of drawings and cassette tapes full of our goof-offs.  I kept everything I could.  Of course, some things couldn’t last forever, such as the cardboard guitars or silly sketches.  As unofficial archivist, I kept a lot.  I have almost all my VHS tapes with those special music videos.  When I play them, the memories return.  These things matter to me.  They show a snapshot of the best childhood anyone could have.

VIDEO: Jex Unboxes a Stack of Rock!

Collectors: aren’t we something?  Sometimes we end up with duplicates because we can’t remember what we ordered, or own already! I promised Jex a parcel several months ago, and I finally gathered enough excess music to fill a box.

Jex was kind enough to film an unboxing video, seen below.  I sent him some review copies, some CDs from my collection that I owned in duplicate, a sticker and a special surprise from the analog age!  Now get writin’ Jex, you have work to do!

SPOILER:  Great bubble wrap popping in this video.  So satisfying.

What out of this box would you have been most excited for?  Let me know in the comments.  I think I know Harrison’s answer already.

And don’t miss Jex with Harrison and new guest PLA tomorrow on Grab A Stack of Rock!

#1003: Animalize Live Uncensored

RECORDS STORE TALES #1003:  Animalize Live Uncensored

36 summers ago, I taped Kiss Animalize Live Uncensored off next door neighbor George.  I recorded the video (which he recorded from a rental) onto a VHS, and the audio onto a 90 minute blank cassette.  For that summer, Animalize Live was my Kiss live experience.  I only had Alive on vinyl, which wasn’t portable.  I didn’t have Alive II yet.  My cassette copy of Animalize Live was constantly in my ears all summer.

I knew every word of every Paul rap.

“Detroit let me tell ya something just between you and me.  That baby had the longest fuckin’ tongue I ever seen in my life!”

“Paul, what are you doing with a pistol down your pants?”

“Eric may look like a baby, but he’s built like a man.”

Paul did a striptease, and the guys hung the panties that they were thrown by girls in the crowd from their microphone stands.  The concert dripped of raw sex and I was like a kid in shock.  I had never seen anything like this before.  I didn’t even know if I wanted to!  But there it was in full glory, Paul Stanley telling stories about his “Love Gun” and me sitting there watching it multiple times a week.  The summer I had mono.  I couldn’t do much else.  I watched a lot of videos and a lot of them were Kiss.

Listening today, I remember every note of every solo.  Paul went first with a guitar solo.  Bruce Kulick, the new kid, was standing in for Mark St. John and didn’t even get an introduction or solo.  Eric’s drum solo was second, and Gene’s bass solo last.  I liked the bass solo.  It actually seemed more musical than the other two.  Its simplicity is one thing…but I was humming the bass solo hours later.

I still know every vocal divergence each song takes in this live incarnation.  Like old muscle memory.  And you know what?  There’s something to be said about 80s Kiss.  They were playing things faster and Eric Carr added his own unique elements to Kiss, as did Bruce.  On some songs the speed works.  I was just thinking that if they came out playing “Creatures of the Night” this fast today in 2022, people would lose their minds.

On my Walkman, I went for cottage adventures with this concert in my ears.  It was the worst recording possible; a cassette copy of a VHS copy of a VHS copy, in mono.  Bootleggy as hell.  But there I sat in the grass, as Paul Stanley told us of the women who wanted to “mother” Eric Carr.  And I had no idea what, specifically, “mothering” Eric Carr meant.  I knew it meant sexy times of some kind, but…nope, right over my head.

Animalize Live Uncensored was my Alive III from a time when we didn’t think we’d get an Alive III.  Or at least, I didn’t.  It was several albums and several years before we did get one, and Eric was gone by then.  I liked it.  I still do.

DVD REVIEW: Def Leppard – Video Archive (1995)

Part Eighteen of the Def Leppard Review Series

DEF LEPPARD – Video Archive (1995, 2001 Mercury DVD)

Only two years since their last home video, Def Leppard went back in for round three.  There were not many new video clips waiting to be released, just the four from Retro-Active and Vault, plus an alternate version.  Mostly, this Video Archive focused on live material.

Def Leppard’s big hometown gig in Sheffield was something they were very proud of, and so it appears here and on the previous album’s Vault double disc edition  Well, some of it anyway.  Nine songs were on Vault; you can watch eight of those on video here.  (The ninth, “Photograph” is available on Visualize.)  The whole show has never been released (22 songs total) but this small handful can be had.  The hometown gig had 40,000 people going nuts for Leppard, something Joe mentions in the opening interview.

No shirts for Phil right from the first song, “Let’s Get Rocked”.  The editing in this concert relies on minimal gimmicks, but the choppy slo-mo bits probably were not necessary.  It also seems like the songs aren’t in order, because at the outdoor gig it gets dark and then light again.

On CD, “Armageddon It” comes second.  Here, it’s “Foolin'”.  I like when the camera switches to Phil when Joe sings “take your fill”.  Take your “Phil”?  Solid version of “Foolin'” and nice to see it with Vivian picking away for the first time on video.  “Rocket” features a cool light show, but what’s cool here is seeing Phil Collen and Vivian Campbell taking turns soloing.  Getting the chance to appreciate the differences between the two.  It’s definitely fun seeing Viv do the ol’ two-handed tapping like it was the 80s again.  Then Joe goes into “Whole Lotta Love”, before “Rocket” resumes its course.

The acoustic B-side “Two Steps Behind” is introduced as being from their next album Retro-Active.  The crowd already knows it.  The atmosphere goes from campfire singalong to party mode in seconds flat as “Armageddon It” begins.  Vivian does an admirable job of Steve Clark’s original solo – and then Joe Elliott jumps down to crowd level!

The familiar drum beat to “Pour Some Sugar On Me” is greated with the appropriate “hey! hey! heys!” necessary to start the song.  Viv is really having fun on this one, running and sliding across the stage.  “Rock of Ages” is a natural song to follow it with.  Rick “Sav” Savage doubles on bass and keys.  Some good shots here of Rick Allen doing his thing on his specialised drum kit.  Finally, “Love Bites” closes this portion of the program dramatically.  Fantastically fitting solo work by Viv, and Sav on keys one more time.

The next section of the DVD focuses on the music videos released since “Visualize”, beginning with their latest hit “When Love & Hate Collide”.  It’s here in two forms, but the straight performance is better than the “Epic 8 minute version”, which is bogged down by boring story and dialogue.  The simple, stripped version of the video suits the 90s even though it doesn’t really fit the string-adorned track.  “Two Steps Behind” was a cool grainy clip, featuring a string section this time!  The backwards-walking footage is fascinating and trippy.  Next is the rarely seen “Action” filmed on tour.  Joe’s sportin’ a goatee this time.  Toto, I don’t think we’re in the 80s anymore!  Also rarely seen, “Miss You In A Heartbeat”.  It’s the version with piano & band, and Joe’s tinklin’ the ivories, goatee still intact.  It’s like Lifestyles of the Rich and Famous, as each band member is playing in beautiful mansion settings.

The highlight of the video is the final section:  Def Leppard unplugged at the Wapantake Club back in Sheffield, 1995.  In the interview footage, Phil says that he enjoys the acoustic setting because it proves that Def Leppard’s famous backing vocals are indeed live.  Meanwhile, Rick Allen appreciates the challenge of using an acoustic drum kit again.  But what’s really special is that the last time Def Leppard played the Wapantake, it was 1978.  Their triumphant return in 1995 is really cool and really should be released in CD form.  Fortunately it was filmed!

Once again, it’s “Two Steps Behind” but without a screaming crowd.  It’s just Def Leppard in a very packed but respectfully quiet room.  “Armageddon It” is bouncy, and the audience responds.  This take is one of the best versions of “Armageddon It” out there; just fun and perfectly performed in the right setting.  Then the new song:  “When Love & Hate Collide” was made available in live form right here mere weeks after its single release.  The acoustic setting works, but novelty aside, Def Leppard have better ballads.  “Animal” and “Sugar” bring the party atmosphere back to the Wapantake.  “Animal” works great acoustically, and “Sugar” takes on a different form.  Phil makes a good point about the backing vocals.  It’s great to hear them live and bare like this because they’re stellar!

Even though Joe said that was the last song, he lied because for the first time, and “for a laugh”, it’s “Ziggy Stardust”!  Joe says it’s the first time they ever played it live as a band in front of a crowd, so that’s special.  It’s also a brilliant version which doesn’t hurt.  Leppard nailed it with pure love.

But wait, there’s more!  The closing interviews discuss the new album Slang:  “Up to date”, “stuck in the 90s”, “different direction”, “complete different turn”, “experimental” are a selection of words used…but then there’s a preview.  Live at the Wapantake, and only for a few seconds, is the new song “All I Want Is Everything”.  One chorus and that’s all we get, though the folks at the gig that night heard the whole song.  The viewing audience at home only got a taste.  Not enough to judge by.  Not enough to get a feeling of what Def Leppard meant when they used words like “experimental”.

We’d find out soon enough.

The end credit music is an instrumental version of “When Love & Hate Collide” with only piano and strings and no band. Now that would be something cool to include in a future box set.

4/5 stars

 

Previous:  

  1. The Early Years Disc One – On Through the Night 
  2. The Early Years Disc Two – High N’ Dry
  3. The Early Years Disc Three – When The Walls Came Tumbling Down: Live at the New Theater Oxford – 1980
  4. The Early Years Disc Four – Too Many Jitterbugs – EP, singles & unreleased
  5. The Early Years Disc 5 – Raw – Early BBC Recordings 
  6. The Early Years 79-81 (Summary)
  7. Pyromania
  8. Pyromania Live – L.A. Forum, 11 September 1983
  9. Hysteria
  10. Soundtrack From the Video Historia – Record Store Tales
  11. In The Round In Your Face DVD
  12. “Let’s Get Rocked” – The Wait for Adrenalize – Record Store Tales
  13. Adrenalize
  14. Live at the Freddie Mercury Tribute Concert
  15. Retro-Active
  16. Visualize
  17. Vault

Next:

19. “Slang” (UK single)