vinyl

REVIEW: The Traveling Wilburys Collection (Bonus 12″ and DVD)

This series is dedicated to my mom! Not only did she a) buy me this box set, but b) introduced me to the artists in the first place. My mom’s favourite Beatle was George. She saw Roy Orbison live, at the old Glenbriar Curling Club on Weber St. in Waterloo. Later, she had these Traveling Wilburys albums on cassette.

Today is the final installment: the DVD and bonus 12″ EP.

For Vol. 1, click here.
For Vol. 3, click here!

 

THE TRAVELING WILBURYS – Bonus 12″, DVD (The Traveling Wilburys Collection 2007 Rhino)

As mentioned in the last two reviews, The Traveling Wilburys Collection came stuffed with bonus tracks — and more if you bought vinyl.  Unfortunately, these bonus tracks (seven total) do not encompass all of the Traveling Wilburys rare tracks and B-sides.  The missing tracks include:

  • “New Blue Moon” (instrumental version), from the “She’s My Baby” and “Wilbury Twist” singles.
  • The original mix of “Runaway” from the “She’s My Baby” single.

The tracks included feature a few B-sides and unreleased songs.  I seem to recall in the 1980’s that extended mixes were very popular.  The Wilburys released two as B-sides:  “Handle With Care” and “End of the Line”.  Both tracks are included with the vinyl version of the Collection.  Basically, this involves adding instrumental sections throughout the song.  Throw on some extra echo here and there.  Each song is extended by about 2 minutes.  With a vocal-heavy band like the Traveling Wilburys, this is actually quite a treat.  It’s a chance to hear some of the bare acoustic instrumental tracks that are overshadowed by harmony vocals.

IMG_20140808_180434Exclusive to the vinyl version of the Collection, and previously unreleased, is the remix to “Not Alone Any More”.  I have made no secret of my love for this song.  This version emphasizes the lead vocal of Roy Orbison front and center.   Also unreleased, but included on the CD version, are “Maxine” and “Like a Ship”.  Both tracks were old recordings, finished in 2007 for this release.  Dhani Harrison and Jeff Lynne sang additional backing vocals, which is more than appropriate.  You can tell both are from demo sources, by hints such as George’s “Alright, that’s it,” at the end of “Maxine”.  “Maxine” is the better of the two songs; “Like a Ship” is a slow Bob Dylan trawl that gets decidedly Beatles-y by the end.  Dhani Harrison plays the guitar solo, which is a standout.

Then there is “Nobody’s Child”, originally from the Nobody’s Child: Romanian Angel Appeal CD.  I’ll admit I’ve never been fond of this sad song.  This was the Wilburys first recording after the passing of Roy Orbison, and I’m glad to finally have it, but it’s not a favourite.  Incidentally, George covered this song way back when he was in the Beatles, too.

Del Shannon’s “Runaway” is a favourite of mine.   I love that “I wah wah wah wah wonder” chorus.  I dug when Queen + Paul Rodgers covered it, but I doubtless first heard this in the movie American Graffiti.   It is said that when Roy Orbison died, Del Shannon was considered as a replacement.  Unfortunately Shannon himself would soon be gone too; he never lived long enough to see the release of the Wilburys’ cover of “Runaway” in 1990.  (He did however live long enough to hear Tom Petty mention the song in his 1989 hit “Running Down a Dream”.)  Jeff Lynne sings lead on the Wilburys version, and he does a bang-up job.  I like this version so much that I’m going to track down the “She’s My Baby” CD single so I can get the original mix too.

Included with the CD version of this set (but not the vinyl) is a DVD with a 24 minute documentary called “The True History of the Traveling Wilburys”. This fascinating inside look at the first album is well worth having.  How often do you get to be a fly on a wall during a jam session like this?  Never.  It’s also very cool to see all five Wilburys recording vocals together in one room.  Also included on the DVD are all of  the Wilburys music videos, including “Inside Out” which I had never seen before.

The vinyl box not only has extra music, but also a poster and six postcards.  Just paper, I know.  The vinyl itself are presented on 180 gram records, which are always delightful to listen to.  Take my word for it when I say that all three records sound amazing on my system.

The Wilburys never went on to record together again after Vol. 3, but a lot of fans consider Tom Petty’s Full Moon Fever to be something of an unofficial Wilburys album.  Jeff Lynne’s first solo album Armchair Theater also has some Wilbury connections, and some of that jangly sound.  All the Wilburys with the exception of Bob Dylan appeared on Roy Orbison’s last album, Mystery Girl.

As for The Traveling Wilburys Collection as a whole?

5/5 stars

REVIEW: The Traveling Wilburys Collection (Vol. 3)

This series is dedicated to my mom! Not only did she a) buy me this box set, but b) introduced me to the artists in the first place. My mom’s favourite Beatle was George. She saw Roy Orbison live, at the old Glenbriar Curling Club on Weber St. in Waterloo. Later, she had this Traveling Wilburys album on cassette, and that tape went up and back from the cottage many, many times!

In today’s installment, the second album, which of course is titled Volume 3!

For Vol. 1, click here.

 

THE TRAVELING WILBURYS – Volume 3 (1990, part of the Traveling Wilburys Collection 2007 Rhino)

When I heard the first Wilburys single from Vol. 3, “She’s My Baby”, I was surprised how heavy it was.  Jeff Lynne sings this grungy rocker, with Tom Petty and Bob Dylan.  The dirty pick slides and guitar licks resembled heavy metal more than the Wilburys’ first album.  And no wonder — it’s Gary Moore (“Ken Wilbury”) on lead guitar! “She’s My Baby” is a great rock song, but there’s no doubt that it alienated some fans as first single.

More in tune with the Wilburys vibe is Dylan’s “Inside Out”.  This track boasts a strong Beatles-y chorus, but fairly dull verses.   “If You Belonged to Me” is better, a bit more upbeat, but melodically poor.  It’s also the second Dylan lead vocal in a row, but it does boast one of his trademark harmonica breaks.

“The Devil’s Been Busy” features lead vocals from everybody, and plenty of George Harrison’s sitar.  It’s an interesting mix, but not a standout song.  The sitar is the highlight; I always enjoy hearing it in a pop rock context.  From “The Devil’s Been Busy” to “7 Deadly Sins”, this song sound likes like a ballad straight out of 1952.  But it’s yet another Bob Dylan lead vocal.  Five songs in, and it is readily apparent that Vol. 3 lacks the vocal variety of Vol. 1, and that is one of its weaknesses.  Dylan is who he is, and a Dylan song isn’t usually as melodic as a George Harrison song.

Tom Petty redeems the album with “Poor House”, a down-home country boogie.  Throw in some of George’s delicious guitars and you’ve got a song you can’t ignore.  It’s this kind of diversity that a Wilburys record needs.  This is the first bonafide classic on Vol. 3, the previous songs short of the mark.

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Bob’s back on “Where Were You Last Night?”  This one has more presence from the other Wilburys and it’s stronger for it.  It’s a tale about a girl who’s been “messing around”.    “Where were you last year?  You sure as hell weren’t here.”  Tom Petty returns for lead vocals on “Cool Dry Place” another enjoyable song, but not terribly memorable.  It’s enjoyable hearing Tom listing all the instruments he has stored in his cool dry place, and kind of hilarious hearing him singing about mold and mildew!  A pleasure to listen to, but not a classic.

“New Blue Moon” sounds a lot more like the first album.  George and Jeff sound great singing together.  All the guys contribute to a song that has a timeless sound.  The ballad “You Took My Breath Away” is helmed by Tom Petty, but equally important are those classic Harrison chords.  It’s not a standout song regardless, unfortunately.  Vol. 3 is plagued by songs that are not as memorable as the first go-round, and that is still apparent listening to them back-to-back today.

Finally there’s “Wilbury Twist”. This single featured a music video starring John Candy. I’m not sure how that came to be, but to me that’s the most memorable thing about it. That and the silly lyrics about the dance, the Wilbury Twist:

Lift your other foot up (other foot up)
Fall on your ass (fall on your ass)
Get back up (get back up)
Put your teeth in a glass (teeth in a glass)
Ain’t ever been nothin’ quite like this
It’s a magical thing called the Wilbury Twist

Needless to say, we did not ever attempt to dance the full Wilbury Twist.  We never made it past the first couple lines!

That’s it for Vol. 3, a Traveling Wilburys album that has always, and will always, lie the shadow of its superior predecessor.  But that’s not it for this series.  When The Traveling Wilburys Collection was finally reissued in 2007, it included several bonus tracks.  The 2 CD/1 DVD version had four, but the 3 LP box set had seven.  We’ll look at them all tomorrow.

As for Vol. 3?

3/5 stars

REVIEW: The Traveling Wilburys Collection (Vol. 1)

This series is dedicated to my mom!  Not only did she a) buy me this box set, but b) introduced me to the artists in the first place.  My mom’s favourite Beatle was George.  She saw Roy Orbison live, at the old Glenbriar Curling Club on Weber St. in Waterloo. Later, she had this Traveling Wilburys album on cassette, and that tape went up and back from the cottage many, many times!

We’re going to be looking at the Wilburys albums, plus a DVD and bonus 12″ EP, over the course of three installments.  Today is the album that started it all.

 

THE TRAVELING WILBURYS – Volume 1 (1988, part of the Traveling Wilburys Collection 2007 Rhino)

If ever there was a group that deserved the word “supergroup”, it would be the Traveling Wilburys.  Grown out of an extension of the B-side sessions for George Harrison’s Cloud Nine, this group of five legends produced only one album in its original lineup.  It’s really something when the lesser royalty of the supergroup included names like “Tom Petty” and “Jeff Lynne”.  That’s because in comparison to George Harrison, Bob Dylan and Roy Orbison, they were relative newcomers to the game.  It still blows my mind that this album exists; that this actually happened.  Fortunately the CD version of this box set includes a DVD; behind the scenes and interviews that prove it wasn’t just a dream!  (The Wilburys’ drummer was Jim Keltner, an unofficial sixth member.)

CLOUD NINEThe song that started it all was “Handle With Care”, written as a Harrison B-side.  It was apparent to all concerned that the song was too good to throw away like that.  Instead it became the first single and opening track from The Traveling Wilburys Vol. 1.  George sings the verses, Orbison the chorus, and the others the bridges.  Although George Harrison sounds youthful and Beatles-esque, it is Orbison who steals the song.  His angelic voice simply shines.  Also exciting is George’s eloquent slide guitar.  Let us not forget what an excellent slide player he was.

Bob Dylan sings lead on the fun “Dirty World”.  Although it shares the same acoustic, upbeat vibe as “Handle With Care”, Dylan infuses the song with his flat funkiness.  I mean that in the nicest possible way!  Horns accent the song, as do the backing vocals of the other Wilburys.  Sonically this sounds like Harrison’s Cloud Nine, and no wonder.  Both albums were produced by Jeff Lynne and George Harrison!

Speaking of Lynne, he sings lead on “Rattled”, a great little country rocker.  “Rattled” is a suitable title since it seems designed to get people shakin’.  And you gotta love when Roy Orbison does his signature “Rrrrrrr!”  Roy sings a bit more on the reggae-stylee of “Last Night”.  Tom Petty sings the verses, while Roy takes the bridges to a whole other level.  I get chills when he sings:

I asked her to marry me,
She smiles, pulled out a knife,
“Your heartache’s just beginning”, she said
“Your money or your life.”

“Last night” indeed!  It’s impossible not to like this song.

WILBURYS_0006Finally, the moment I had been waiting for:  a Roy Orbison lead vocal!  “Not Alone Any More” is golden.  There will only be one Roy Orbison, and this song is as essential to his songbook as any of his other hits, in my opinion.  It sounds timeless, and it boasts that powerful, mournful voice.  It speaks volumes that no other Wilburys sing prominently on this song; they obviously gave Roy the space that his voice deserved.  It is a classic song.  It is a shame that no music video was made for this, the third single.

Side Two opened with “Congratulations”, a slow-as-molasses Bob Dylan turn.  This has always been one of the lesser songs, but on an album full of shiny diamonds.  Its slow, dreary vibe can be hard to penetrate at first.  The key is focusing on the lyrics of Dylan.  “Heading For the Light” then is an upbeat Harrison number, another one that easily could have been on Cloud Nine.  It boasts those chiming guitars, and a great chorus with Jeff Lynne helping out.   The sax solo (by Jim Horn) is another treat.

“Margarita” always sounds a bit odd when it opens.  A synthesizer of all things pulses away, but soon all the live instruments fade in.  More horns, more of those chiming guitars, and George’s slide.  Once again Bob Dylan sings lead, although the song was primarily written by Tom Petty, who shows up later in the song.  It has an exotic sound, and it’s something I associate with summer.

Epic time.  “Tweeter and the Monkey Man” (famously covered and punked up by the Headstones) is Bob Dylan’s album centerpiece.  A tale about an undercover cop and other shady characters, this is Dylan as only Dylan can do.  Words cannot really do this song justice.  It’s one of those tracks that demands multiple listens, since there is so much going on lyrically and even vocally.  This is the only song on the album to which Roy Orbison did contribute.

Nothing like the Wilburys version.

Although a song like this could have easily closed an album, the Wilburys had one more track of their sleeves.  “End of the Line” was an apt farewell, and again, it’s hard not to get chills when Roy sings.  This single features George, Tom and Jeff prominently along with Roy Orbison, but Bob doesn’t sing any lead parts.  “End of the Line” feels like a bookend with “Handle With Care”; two similar songs opening and closing the record.

I’m going to skip discussing the bonus tracks for now; we’ll get to them in Part 3 of this series of reviews.  Besides, the 10 core tracks on Vol. 1 are plenty enough to discuss.  Within a couple months of its release, Roy Orbison would pass away at the young age of 52.  The Wilburys bestowed upon Roy another chance in the spotlight, and he worked hard to complete his solo album Mystery Girl, while playing shows and filming music videos.  Although he had been experiencing chest pains and had meant to see a doctor, he never did.

I was as surprised as anyone when the remaining four Wilburys re-convened to record another album.  Vol. 3 appeared two years later, and was dedicated to the memory of Orbison…or at least his Wilburys alter-ego, Lefty Wilbury.  Check back tomorrow when we’ll look at that album in detail.

As for Vol. 1?

5/5 stars

CO-REVIEW: Funky Junction – Play a Tribute to Deep Purple (1973)

AN INTERNET FIRST:  LeBrain and the Heavy Metal OverloRd have combined forces to bring you our very first co-review!  We have chosen the rare album album by Funky Junction — a little known outfit better recognized under the name Thin Lizzy!  Perhaps you have heard of them.

For the purposes of this review, LeBrain will be in black and HMO will be in blue.

FUNKY JUNCTION – Play a Tribute to Deep Purple (1973 Damont)

HMO: I like a challenge. Ever since hearing about Mike’s “Holy Grail” list of rarities I’ve been determined to find some for him here in Scotland. Given that I’m Scottish, this obsession with Holy Grails probably makes me Sean Connery to his Indiana Jones. Or something like that. At any rate, I’ll be calling him “Junior” from now on. I saw this record in Glasgow’s Missing Records and, knowing the hidden Thin Lizzy connection, I emailed Mike to see if he had it. He replied that it was on his Holy Grail list! Ya dancer! On closer inspection, however, the shop-copy looked too scratched to be worth even the £2.50 asking price. But the discovery gave me hope that I might find a better copy for him online… and here it is!

LeBrain: The band on the front cover wasn’t them. Their names appear nowhere on the LP packaging. All we’re told on the record jacket is that Funky Junction “are an exciting new group that has the pulse of today.” But for all intents and purposes, Funky Junction was Thin Lizzy:

Phil Lynott – bass guitar
Brian Downey – drums
Eric Bell – guitar
Benny White – vocals
Dave Lennox – keyboards

Since Phil Lynott couldn’t sing Ian Gillan’s high notes, and since Thin Lizzy didn’t have a keyboard player, the band hired members of another Irish group called Elmer Fudd to record the album, which they did in one day!

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“Fireball” is one of my favourite Deep Purple tracks. Even though Eric Bell referred to singer Benny White as an “Ian Gillan” clone, I don’t hear that at all. A Rod Evans clone, perhaps. “Fireball” is largely based on the drums, so we’re in safe territory here. Brian Downey is one of the few drummers who could give Ian Paice a run for his money in 1973. Not a bad cover I suppose, if you’re eager to hear was “Fireball” would have sounded like with Rod Evans singing.

Totally agree with you on the singer. The guy is so Rod Evans he was probably wearing gold lamé trousers while he was singing this. It’s an ok version in a “pub covers band” sort-of way. Brian Downey’s drumming is impressive, Phil’s bass solo… not so much.

“Dan” (credited to the German business man, Leo Muller, that conceived of and financed this project) is brief guitar instrumental. It’s supposed to sound like “Danny Boy” in a Hendrixian style, and I suppose that’s the right ballpark. Eric Bell fans will dig it, but as a song…next!

I like Eric’s tone here but it’s a lazy arrangement: just playing the melody and wanging his bar every now and again. It’s definitely the most Lizzy-esque song here though.

Funky Junction settle into a light groove on “Black Night”. This is a pretty faithful cover. What I like about this performance is Eric Bell’s way of improvising his own guitar solo within the style that Blackmore set for this song. The organ solo however is pretty caveman by comparison to Jon Lord. Pretty stock cover.

I’m actually fairly impressed by how faithful this one is, and a good approximation of the sound too. Eric Bell and Brian Downey are still the classiest acts here but it doesn’t have anywhere near the edge of the Purple original. Still, one of the more enjoyable outings here.

I like that I can hear Phil Lynott’s personal bass style on “Palamatoon” but the lame keyboards sound out of place on this album. I don’t know how to describe this instrumental original except to say that, as usual, Eric Bell’s soloing is a highlight.

It’s cool to hear Phil on this. His bass line reminded me of “Little Girl in Bloom” a bit. It’s just a shame that this tune is so bad. It’s like Emerson Lake and Palmer but pissed as farts. John Peel once described ELP as “a waste of talent and electricity”. He was wrong. But this song definitely is.

“Strange Kind of Woman” is pretty limp. Once again, if you were eager to hear this Purple classic performed by a Rod Evans clone, this is the one. Downey and Bell are the highlights of a pretty dull performance.

I’m finding the Rod Evans factor to be one of the more interesting aspects of this. If it wasn’t so workaday you could almost imagine these are some long-lost Deep Purple sessions from before they gave poor Rod the heave-ho. But apart from the “what if?” fantasising… dull.

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Side two commences with the Deep Purple Mk I hit, “Hush” (actually a Billy Joe Royal cover). I find this one irritating. The singer’s enunciation bugs me. Deep Purple decided to anchor their version with a long keyboard solo. Unfortunately Funky Junction struggle to make their solo as interesting.

I think I liked this one more than you, Junior. This and Black Night are the two best Purple covers here. Not very inspiring on record but if they were playing it live at a pub I think I’d get into it. Benny sounds totally at home here, finally giving it the full, glorious Rod Evans. Probably with bouffant hair and a frilly shirt now too! Gaun’ yersel’ big man!

Even though we all know “Rising Sun” is a cover of “House of the Rising Sun” (a traditional), here Leo Muller takes songwriting credit! I hope he enjoyed what little royalties he earned from the meager sales of this LP. This is another instrumental cover, with a snooze-inducing ending.

Cheeky scamp that Leo Muller, eh? I’m surprised he didn’t just change his name to Traditional and watch the money flood in. Nice sound and a decent performance on this song but mostly goes in one ear and out the other.

I appreciate that Funky Junction chose to retain that noisy, messy intro to “Speed King”. I’m afraid that of all the songs, “Speed King” suffers the most from the inadequate singer. Fortunately the Lizzy guys are talented enough to play the tune properly.

Everything we’ve mentioned previously seems to work against them on Speed King. The caveman keyboards, the tameness. And the poor Rod Evans impersonator sounding like all your worst Karaoke nightmares (but with the added embarrassment of those trousers). It’s cool that they included the noisy intro (I think Leo Muller wrote that) but this is the worst Purple version here by a good margin.

“Corina” closes the album, a vocal track credited to Muller. It’s a cool blues that fits in with a Deep Purple Mk I vibe. I don’t mind this track too much. It’s nothing special but at least it’s not overshadowed by a superior Deep Purple version.

An OK boogie. It’s still making me think of pubs mostly. The lead guitar is the best thing about this one.

2/5 stars. Recommended primarily to fans of Eric Bell.

2.5/5 stars. I agree with Mike but I’m going to throw in an extra half-point because I thought the Rod Evans impersonator was a hoot.

  1. “Fireball” (Ritchie Blackmore, Ian Gillan, Roger Glover, Jon Lord, Ian Paice)
  2. “Dan” (Leo Muller)
  3. “Black Night” (Blackmore, Gillan, Glover, Lord, Paice)
  4. “Palamatoon” (Muller)
  5. “Strange Kind of Woman” (Blackmore, Gillan, Glover, Lord, Paice)
  1. “Hush” (Joe South)
  2. “Rising Sun” (Muller)
  3. “Speed King” (Blackmore, Gillan, Glover, Lord, Paice)
  4. “Corina” (Muller)

REVIEW: Deep Purple – “Knocking at Your Back Door” / “Perfect Strangers” (single)

Welcome back to the Week of Singles 3! Each day this week we’ll be looking at rare singles and EPs.

MONDAY: OZZY OSBOURNE – Ultimate Live Ozzy (1986 CBS picture 12″ record)
TUESDAY: BON JOVI – Livin’ On A Prayer (double 12″ EP)
WEDNESDAY: ANTHRAX – Live from Sonisphere Festival 2010 (picture disc EP)

DEEP PURPLE – “Knocking at Your Back Door” / “Perfect Strangers” (1984 Polydor 12″ single)

What a find this was.  While Simon Robinson has kept Deep Purple’s catalogue largely available on CD in lavish packages, here’s an oddity that has slipped through the cracks.  Granted, interviews are fairly low on my collecting priority list.  When something like this falls in your lap, you still gotta bite.

I got this limited edition (#9240/????) at an old used music store in Uptown Waterloo.  I cannot remember the name; perhaps a kind reader will remind me.  They were technically a “Christian” store but still carried music of all varieties.  This 12″ was sitting on their shelves (price long lost) and I snagged it.  The A-side contains not one but two hits, and the B-side, in depth interviews with all five Deep Purple members.  All was harmonious in Deep Purple, coming off the high of making the album Perfect Strangers and embarking on a successful tour.  The dischord did not return until The House of Blue Light.  Therefore these interviews reflected a rare time of excitement and positivity for the short-lived Deep Purple MkIIb.

First, the music:  To get both awesome singles from Perfect Strangers on one 12″ is handy!  These are two of MkIIb’s best tracks, if not the two best tracks, period.  By the end of the A-side, my mind is already blown by the grandiose, intelligent, classic sound of Deep Purple.  Of note, these are the full length tracks, not single edits.

IMG_20140518_065140The interview side is helmed by Tommy Vance for the Friday Rock Show.  Each member is interviewed separately, which is how it should be for Deep Purple.  The amiable Jon speaks for 10 minutes, recalling Deep Purple history, particularly the very early years.  They also discuss Jon’s few writing credits on the new album, a potential pot-stirring question.  Ritchie Blackmore then reveals he doesn’t mind giving up being “the” leader of a band (Rainbow).  Ritchie claims the hardest part of being the leader of a band was “trying to find the perfect member”.  He sounds excited when discussing Deep Purple’s on-stage chemistry.  Meanwhile, Roger Glover sounds like he’s eating a bag of crisps.  He also sheds light on the early stages of the reunion, and the things they discussed to make it work.  I enjoyed Ian Paice’s interview most; he dismisses what was going on in 80’s pop music as “a fashion show”.  He proclaims that his goal for the reunited Deep Purple was to bring back a little bit of class to rock and roll.  In my mind there is no question that they succeeded.  Finally, the singer:  Ian Gillian is soft-spoken and optimistic.  He too is glad to have shed the responsibilities of being the leader of a solo band.

If you’re a Deep Purple collector and you find this record sitting on a shelf for a reasonable price, do not hesitate.  Tommy Vance asks probing, intelligent questions and the result is an interview disc that will enjoy listening to more than once.

5/5 stars

More Deep Purple:

REVIEW: Anthrax – Live from Sonisphere Festival 2010 (picture disc EP)

Welcome back to the Week of the Singles 3! Each day this week we’ll be looking at rare singles and EPs.

MONDAY: OZZY OSBOURNE – Ultimate Live Ozzy (1986 CBS picture 12″ record)
TUESDAY: BON JOVI – Livin’ On A Prayer (double 12″ EP)

ANTHRAX – Live from Sonisphere Festival 2010 (picture disc EP, Record Store Day exclusive)

I don’t get these Record Store Day exclusives, honestly.  I saw this thing for a reasonable price on Amazon and bought it without even knowing it was some kind of “exclusive”.  I sure didn’t buy it at a record store, but I won’t turn this into a Record Store Day rant.

This is a very nice looking picture disc. I wouldn’t recommend playing it too often, you know how quickly a picture disc can wear out. If you’re lucky enough to own the Big Four Live CD box set, you won’t need to play this.   I don’t have that very limited set, but these two Anthrax performances make me want it! “Medusa”, an oldie from the Anthrax days of yore (Spreading the Disease), is just as powerful as ever.  Belladonna’s voice has changed, but not enough to matter.  The song has been tuned down, but that really only makes it heavier.

“Only”, the first single from the John Bush era of the band, is on the other side.  This is one of the best Anthrax songs ever, in my opinion.  Joey certainly turns a more than able performance.  He sounds at home, and I quite enjoy his version, especially when he starts shrieking before the guitar solo.

I loved this single, and I was surprised how awesome Joey sounded. I really lost track of Anthrax after the We’ve Come For You All period and haven’t been too excited about all the rotating singers since then. However since Joey’s been back (for hopefully the rest of the band’s life) I’ve been a lot more interested, and that’s why I bought this. I didn’t know how good he would sound on the Bush-era stuff, and “Medusa” smokes with furious intensity too.

Good single, I’d really like that box set.

4/5 stars

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REVIEW: Bon Jovi – Livin’ On A Prayer (double 12″ single)

Welcome back to the Week of the Singles 3! Each day this week we’ll be looking at rare singles and EPs.

MONDAY: OZZY OSBOURNE – Ultimate Live Ozzy (1986 CBS picture 12″ record)

BON JOVI – Livin’ On A Prayer (1987 Polygram double 12″ single)

For the second time this week comes a record that I acquired via T-Rev.  This time, some friends of his were selling off some old vinyl, and he knew I’d be interested in this one.  Indeed!  From the juggernaut mid-80’s smash hit Slippery When Wet comes “Livin’ On A Prayer”, possibly the best known Bon Jovi hit.  Previously, I owned this single on cassette, but we all know how permanent the music on a cassette can be.  I was seeking what I call a “hard copy” — something more permanent like vinyl.  T-Rev delivered!

There are six tracks total, with two on the first record.  What a pair!  “Livin’ On A Prayer” is a song I have nothing bad to say about.  It’s hard to talk about a song such as this, which I probably hear daily, via the radio.  Trying to look past the intense familiarity, I hear some great dark keyboards and a still-great talk box guitar part.  It’s a still a great song, achieving musical heights that Bon Jovi would seldom scale.

Even better though is “Borderline”. This song is so hard to find, that I don’t even own it on a CD. It’s not on the (domestic) version of Bon Jovi’s 100,000,000 Bon Jovi Fans Can’t Be Wrong box set (though it is on the Japanese). This is an undiscovered Bon Jovi gem, deep into that Slippery sound and keyboard-heavy. It easily could have been on the album; hell it could be a single in its own right. Songs like this are long-time favourites of Bon Jovi fans in the know.

The second record commences with a Bon Jovi semi-hit, “In and Out of Love” from 7800° Fahrenheit.  I used to like this song when I was young.  Even though it’s one of Jon and Richie’s hardest rockers, it doesn’t really appeal to me anymore.  The words are laughably bad:  “You wanted me to meet your what? Your daddy is who?  Hey, just how old are you anyway?  Oh, no…”  Thankfully you can’t keep Sambora down, and Richie nails a cool, memorable guitar solo.

The coup de grâce is the final side, all rare live tracks recorded in Japan on the 7800° tour. These are some of my favourite Bon Jovi live recordings, and once again, I’ve never seen them on any kind of CD. All three tracks are from Bon Jovi’s first album: the single “Runaway”, “Breakout”, and “Shot Through the Heart”.

“Runaway” sounds amazing, and I think this song is underrated. It’s played a bit faster than the album version, and the vocal harmonies of Jon and Richie are young and fresh. “Breakout” is not especially notable, though hearing first-album Bon Jovi played live is a rare treat. Then, a surprise, as the band break into Cher’s “Bang Bang (My Baby Shot Me Down)” as a segue into “Shot Through the Heart”. The “Bang Bang” segment is an absolute treat, once again showing off those young voices, accompanied only by some David Bryan keyboards.  This intro overshadows the song itself, though it is still one of those great Bon Jovi deep cuts.  It’s a dark broken-hearted hard rocker with some smokin’ Sambora axe.

At roughly 32 minutes, I don’t know whether this is a single or an EP.*  All I know is, it’s longer than Diver Down.

5/5 stars.  An absolute must for any Bon Jovi fan with a turntable.

IMG_20140517_062656* It’s an EP, according to the spine, which I only noticed while taking these photos.

 

REVIEW: Ozzy Osbourne – Ultimate Live Ozzy (picture disc EP)

Welcome to the third WEEK OF SINGLES!  Once again, we’ll be looking at singles and EPs all week.  Up first is a really odd one.

Click here to see directories for the last two installments:  The Week of Singles, and the Week of Singles 2.

OZZY OSBOURNE – Ultimate Live Ozzy (1986 CBS picture 12″ record)

T-Rev bought this for me a year or two ago, God knows where he found it!  All I know is that one day I got a text from him saying, “Mikey, Ultimate Live Ozzy picture disc, do you need it?”  I obviously said yes,  I didn’t care what it was exactly.  I figured it was probably live cuts from The Ultimate Ozzy home video release.  I know that Ozzy picture discs go for crazy amounts of money at record shows, and this one was affordably priced.

Picture discs don’t sound the best, and this one even has a label on the front warning the consumer of this fact.  Unfortunately my plastic sleeve isn’t in the greatest shape, although the record is absolutely perfect.  I love the way the turntable spindle sticks out of Ozzy’s tongue on one side.  The other side has a picture of Ozzy and guitarist Jake E. Lee with the girl from The Ultimate Sin album cover.  Jake’s taking a bite out of her bum.

Here’s the weird thing.  Even though the label clearly states these are live versions from Kansas City in 1986 (the Ultimate Ozzy video shoot), there are no live songs.  There are three tracks per side, and both sides are identical.  They contain the studio versions of “The Ultimate Sin”, “Never Know Why”, and “Thank God for the Bomb”.  The studio versions — not live versions!  Somebody screwed up somewhere; you have to assume one side was meant to have the live tracks, and the other the studio counterparts.  Information is scarce, except that there are multiple reports of the same issue for this picture disc on the web.

Thankfully, the three missing live tracks are on the Prince of Darkness box set.   It’s always nice to get some live Ozzy stuff with Jake E. Lee, since it’s so rare to find.  Randy Castillo (R.I.P.) is on drums, and like him or not, he has a signature style that he utilized with Ozzy.  I enjoy his drumming.  The live versions are more keyboard heavy than the studio counterparts.  I enjoy Jake’s echoey guitar intro to “Thank God for the Bomb” which sounds cool live.

I’d love to know if these three live tracks were actually released on vinyl at all in 1986.  Prince of Darkness was released in 2005; that’s a long time to wait to finally get the tracks in an audio format!  I do have the Ultimate Ozzy video on VHS, but it has never been released on an official DVD.  Knowing of Ozzy’s loathing for this period, I wonder if it ever will be.  I doubt it.  It’s too bad, because some have a fondness for The Ultimate Sin and its songs.

If this picture disc had contained the live tracks it was supposed to, I’d give it 4/5 stars.  However, for a screwup this colossal:

0/5 stars.  At least it looks cool.

Final note:  When originally released, this disc came with postcards and a poster.  I have neither.

REVIEW: Anvil – This Is Thirteen

“Keep on rockin, keep on rockin’, to this metal tonight!”  The first of two Anvil reviews this week!

ANVIL – This is Thirteen (16 track vinyl edition, 2009 VH1 Classic Records)

I won’t go into the whole Anvil story — see the movie (Anvil! The Story of Anvil), and then get this album if you haven’t already. Don’t get this album because you feel sorry for Anvil and want to help them on their quest for stardom; buy this album because it is one seriously heavy piece of metal greatness. It’s amazing that thirty years on, a band can come up with something as strong or stronger than their classics.

Surely some of the credit must go to veteran knob-twister Chris Tsangarides (Judas Priest, Thin Lizzy, Bruce Dickinson) who produced This Is Thirteen. Tsangarides, if you’ve heard his past productions, gets a simply great sound and performance out of bands. In particular, heavy bands like Anvil. Everything here sounds great — the drums are pounding, clear and heavy and the guitars are shredding and crisp. Excellent sounding record!  (NOTE:  Tsangarades has been ill recently, and we wish him nothing but the best.)

The songs? Well, originally there were 13 songs…this is Anvil’s 13th album, get it? However, some extras were added to this vinyl edition (more on that later). The core 13 songs are pretty damn strong. I would say heavier than the “classic three” Anvil records, but every bit as catchy and memorable. The riffs are the kind that bore their way through the skull into your brain. And Lips plays almost all the guitars here — clearly, he is not only a talented frontman, but also an underrated shredder.  No one will mistake Lips for Alex Skolnick, but he’s like a more talented Nigel Tufnel — and I mean that in the nicest way — style wise. (Former lead guitarist Ivan Hurd also appears on a handful on tracks.)

Bordering on thrash metal at times, and sinking to Sabbathy lows at others, This Is Thirteen gives you a variety of metal to sink your teeth into. Check out the title track “This is Thirteen” for some seriously heavy doom. Sounds like something on Sabbath’s Dehumanizer CD, even lyrically. I’m sure Dio would approve. Then skip ahead to something fast and heavy like “Shoulda Woulda Coulda”. This Is Thirteen has a little of everything!

Highlights for this listener included the title track, the apocalyptic “Bombs Away”, “Burning Bridges”, “Feed The Greed”, “Room #9” and the three bonus tracks.

I love when bands put bonus tracks on vinyl. It makes the metal geek in me scream in joy. Here there are three:

14. “Thumb Hang” – a song Lips & Robb wrote in highschool, about the Spanish Inquisition. Finally recorded 30 years later, it’s actually a pretty decent song!

15. “Metal On Metal” – re-recorded for that heavier sound, but don’t worry, it’s not modernized at all. It’s a straight remake, just better sounding.

16. “666” – same deal. The great thing about these re-records is that it allows new Anvil fans to get their two best known songs along with the new album. Pretty genius if you asked me!*

My only gripe? Occassionally Lips’ voice can be a little grating. I have the same issue when I listen to Megadeth for a couple hours on end. I just can’t listen to Mustaine’s voice for too long in a row. Lips’ voice isn’t as grating to me, but too much Anvil and I need to play something else.

4/5 stars

* These three songs were later re-released on the 2011 Anvil compilation Monument of Metal.

IMG_20140416_173138

Wish Us Luck: The Toronto Musical Collectibles Record & CD Sale 2014
TORONTO

Japanese Import Heaven

Dear friends, my budget is low, but my resolve has never been stronger!

Tomorrow (April 13) is the Toronto Musical Collectibles Record & CD Sale; T-Rev & I will once again be joined by Wes and newcomer Doug (?).  Last year was a tremendous success for me.  I am really hoping that the guy who sold me the Japanese imports will be back this year.  They were by far my best score at any record show in my over 20 years of attending them!

May the Force be with us!

Previously unseen video from last year