Walmart

DVD REVIEW: Taylor Swift & Def Leppard – CMT Crossroads (2009)

TAYLOR SWIFT & DEF LEPPARD – CMT Crossroads (2009 Walmart exclusive DVD)

 

“There’s always a first day when you discover a band, be it the Beatles or Taylor Swift, when you hear the name for the first time and then you go and check it out. So we just Googled her, iTuned her, listened to it all and said, ‘Wow’!” — Joe Elliott

“I like to write songs about what’s going on in my life.” — Taylor Swift, stating the obvious

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Before the Swifties come and tear us apart for what you’re about to read, let’s be perfectly clear. Taylor Swift is very talented and has a genuine love for Def Leppard’s music. She is also an incredibly bright individual, and she has written more hits than Def Leppard in a fraction of the time. Both of them started in their teens, and are guilty of using outside writers. In the included interview footage, she and Def Lep seem like a mutual admiration society. We have nothing against Taylor Swift here, though her brand of pop music is never heard around LeBrain HQ…save this Walmart exclusive DVD release.

How did they hook up? Taylor was on tour with “Tim and Faith” (McGraw and Hill) who’s tour manager was Rick Allen’s brother. She expressed interest in doing an episode of CMT Crossroads with them, and then the phone rang.

Leppard and the Swift’s band share the stage, dual drummers, umpteen guitar players, and fiddle…but on a heavier track like “Photograph” you can’t really hear her group. Taylor gets the first line (she says she felt like a kid in a candy store to do so); then she and Joe swap. It’s clear that she doesn’t have the power nor the control that Joe Elliot has. Her voice is whispy by comparison. It’s also weird to see a girl in a gold mini-dress and cowboy boots fronting Def Leppard, but talk about dreams come true! I’m sure Def Leppard didn’t mind the national exposure either.

“Picture to Burn” is the kind of candy-coated pop country that irritates so many fans of the old fashioned stuff. Taylor is more at home on her own songs, but Joe has never sounded more awkward. Taylor’s band dominates on this song, with only a few Phil Collen guitar squeals to remind you he’s there. Tellingly, Joe Elliot says of her music, “You take the banjos and fiddles off, and you’ve got pop.” The next Taylor number, “Love Story” is one I’ve heard on pop radio many times, but it’s hard to suffer through. It brings back bad memories of Leppard’s pop disaster, X.

Taylor butchers my favourite Def Leppard ballad, “Hysteria”. The song successfully absorbs the twang, but again, Swift just lacks the vocal power to blast it the way Joe can. Her own ballad “Teardrops on my Guitar” is so laid back that most of the Leppard guys are sitting down for it. The bands mesh well and the song is pretty good, although she has a guitar player who kind of looks like a goth country emo Russell Brand. She’s at home on Leppard’s “When Love and Hate Collide”. Once again the meshing of the two bands works well here. There’s a full string section, plus backing vocalists crowding the already overloaded stage, but that’s what the song calls for and it’s genuinely great version of the well-worn hit. “Should’ve Said No” is a Swift song I don’t know, but it’s one of those pop tracks that just feels like it was written by a computer. It transforms directly into the show closer “Pour Some Sugar on Me”, but…damn. Taylor’s out of breath. She is audibly gasping (a big no-no) between lines and unable to deliver the goods. With the fiddle and extra accouterments added, this one’s a write-off.

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There are three bonus tracks that weren’t broadcast as part of the show: One Swift, two Leppard. Taylor says she wrote “Our Song” in ninth grade (“three years ago, actually”). That’s exactly what it sounds like, ninth grade pop, but obviously there is a need in the world for that kind of kid-friendly music. Leppard fans won’t find any appeal here. They will however appreciate “Love”, the only new Leppard song in the set. Interestingly it starts with only Taylor and two of her guitarists on stage, then Leppard emerge from the shadows. As a duet, it’s enjoyable, and it’s overall probably the heaviest thing all night. The much-overplayed “Two Steps Behind” is the final bonus track. The fun thing here is trying to count the number of people playing guitar on stage. (Eight plus fiddle and Rick Savage on acoustic five-string.)

Phil Collen gets bonus points for wearing a jacket on stage, dressing up a bit for the television, but he sticks to tradition by having no shirt on underneath.

2.5/5 stars

REVIEW: Poison – Poison’d! (2007 Walmart version with bonus track)

POISOND_0001POISON – Poison’d! (2007 Capitol)

Talk about defying expectations.  As a general rule, covers albums suck.  By extension of that, you would certainly predict that a cover album by Poison would absolutely suck.  After all, the band Poison haven’t made a decent studio album in well over 20 years.  2002’s Hollyweird was junk.  Maybe it’s the presence of legendary producer Don Was, but Poison somehow managed to make a good cover album!  I’m almost worried about losing credibility by saying this.  I did indeed get Poison’d by it.

I think Poison are at their best when playing upbeat but hard pop rock numbers.  “Little Willy” by the Sweet is a great example of that kind of song, and it’s right up Bret’s alley.  It’s obvious that he doesn’t have the voice he once had (which wasn’t much to start with) but when Bret’s at home with a particular style it always works better.  “Little Willy” is hella fun.

Here’s my Bowie confession — this guy here is not a fan.  Maybe it’s over-exposure.  I do like the hits, and of those “Suffragette City” is one I enjoy.  Once again, Poison are at home, putting their slant on Bowie and somehow making it work.  I don’t even mind C.C.’s over the top guitar slop — silly but that’s his style.  I’m sure Bowie diehards will absolutely hate this.

The classic Alice Cooper ballad “I Never Cry” is a great song, and Poison throw a little twang on it while keeping it pretty true to the original.  Dick Wagner had a knack for writing incredible songs, and “I Never Cry” is one of the best he’s ever written.  As for Bret, he’ll never be Alice Cooper but he’s not trying to be.  Too bad C.C. can’t seem to hit the notes he’s searching for on the solo!  If Poison had done this in 1988, they absolutely would have had a hit with it.

You wouldn’t expect a band like Poison to have too many Tom Petty records in their collection, but they do a great job glamming up “I Need to Know”.  They nailed it by doing it in their style, and as long as you’re not too attached to Tom Petty’s original then you’ll dig it.   On the other hand, I can picture Bret having a whole bunch of albums by the Marshall Tucker Band.  “Can’t You Say” has that laid back, southern gospel rock vibe that Bret has been trying to copy for 25 years.  Unsurprisingly, “Can’t You See” is better than most of Bret’s originals in the same style.  Guitar solo aside it’s actually pretty great!

One song I really don’t care for anymore is “What I Like About You” by the Romantics.  Hearing a decent cover though ain’t so bad.  Surprisingly, once again, Poison do a great version.  C.C.’s soloing doesn’t fit the track, but hey, that’s C.C. for you.  Bret’s enthusiasm carries the track, which is in Poison rock mode.  Then they slip by covering the Rolling Stones.  “Dead Flowers” isn’t a song I would be brave enough to do, and Poison should have erred on the side of caution and not tried it.  This is filler, but I love the Cars, so I had my hopes up for the next track “Just What I Needed”.  No need to fear — this one is in that hard pop rock mode that Poison do very well.  It reminds me of their own song “So Tell Me Why” in tone.   Count this one as an album highlight and personal favourite.

Some previously released tracks fill out the set.  A Poison covers album should include their first cover, “Rock ‘N Roll All Nite”.  This Kiss cover (produced by Rick fucking Rubin, no shit) was first released on the Less Than Zero soundtrack in 1987.  You can also hear it in the background at the start of their music video for “Nothin’ But a Good Time”.  I do not like it, but it’s nice to include.  The Who’s “Squeeze Box” was originally from the aforementioned Hollyweird CD, and it’s sadly (but not surprisingly) a stinker.  Jim Croce’s “You Don’t Mess Around With Jim” is a demo from 1987, previously released on the remastered Look What the Cat Dragged On.  Not bad when you want a taste of that old-style Poison.

I think it’s kind of odd to put “Your Mama Don’t Dance” on this CD, since pretty much every Poison fan in the world already has that song.  But here’s the overrated Loggins and Messina cover for you one more time!  “We’re An American Band” was also previously released, on the Poison best of 20 Years of Rock.  (“Rock ‘N Roll All Nite” and “Your Mama Don’t Dance” are also on that CD.)  It’s a good tune on which to end the CD.

Except it’s not!  Walmart’s version of the CD had a bonus track, and it’s a baffling one.  I’m very proud to say that I have never heard the song “Sexy Back” by Justin Timberlake.  Having said that, I’m sure it’s better than Poison’s industrial-flavoured version.  A colonoscopy is better than this.  So essentially what Walmart have done is ended the album with a colonoscopy for you.  You’re welcome!

Missing: “Cover of the Rolling Stone” from the Crack A Smile album. Too bad, as that would have been better than getting “Your Mama Don’t Dance” yet again. Also missing (but not missed): “God Save the Queen” from the remastered Flesh & Blood.

Overall though?  Good CD.

4/5 stars

REVIEW: Journey – Revelation (2008 2CD/DVD edition, import with bonus track)

JOURNEY – Revelation (2008 Nomota)

It’s funny to surf the reviews on Amazon for this CD. “Super and Awesome” says one. “Best Journey album since Escape” says another. (Really? Better than Frontiers?)

OK, cutting through the glowing fanboy reviews, let’s be dispassionate here. Journey hasn’t truly sounded like Journey since Steve Smith and Steve Perry left for good in the late 90’s. In my unassuming personal view, Trial By Fire from 1997 was the best Journey album since the glory days. They tried to replace Steve Perry with a clone singer named Steve Augeri on three releases (Arrival, Red 1, Generations) and the result was a generic band that sounded like (guess what) a Journey tribute band. The fact that the smooth-as-butter Steve Smith was gone didn’t help.

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Journey did what I thought was a really smart move afterwards. They brought in the brilliant veteran Jeff Scott Soto to sing, and there are some pretty awesome bootlegs out there of Journey with Soto singing. Soto was no Steve Perry, but a unique singer in his own right, loved by his own legion of fans for his powerful voice. But he was no replicant; no duplicate.  The band actually fired him to bring in someone more Perry-like.

That person is Arnel Pineda, who has an incredible set of pipes. I mean this guy can sing! Unfortunately, Pineda’s been singing Journey pretty much his whole life. He’s a Perry clone. He’s Perry-lite. He’s an imitator. And you can tell. He lacks the character, the grit, the personality, the soul, and the experience of Steve Perry.

Also, let’s not forget that Steve Perry was one of the major Journey songwriters, and without him Neil Schon and Jonathan Cain are left to their own devices. The soul is still gone, the heart of Journey is still ripped out. Revelation is no comeback album. It’s another Journey-lite album, it sounds like the best Journey tribute band in the world, but still…just a tribute band.

Having said that, it’s not bad. It’s not a comeback, it’s more of the same. There are good songs here – “Never Walk Away” being the strongest. “Like A Sunshower” is a nice, generic ballad. “The Journey (Revelation)” is the most adventurous tune here, an instrumental where Schon gets to show his stuff, shredding and classing up the place several notches. The rest of the tunes are just nice. Pleasant Journey-esque ditties where you can tell Cain and Schon were saying, “Let’s write a Journey rocker,” or “Let’s write a Journey ballad”.

The album is roughly half new songs, half old. The second disc is entirely re-records with Arnel singing classic Journey tunes. It’s nice but certainly no replacement for Greatest Hits. It’s great that they tackled “Stone In Love” and “Be Good To Yourself” on here. The rest are the hits, and you know ’em and love ’em already so I won’t talk about them too much. Except to say, this is where you notice first and foremost that Steve Perry is missing. The nuances are not here, rendering this disc nothing more than a novelty.

There are two other re-records, both (oddly enough) from the Augeri era. One is the Japan-only “The Place in Your Heart” which I don’t have so I can’t comment on it. The other, which is on all versions of the CD, is “Faith In The Heartland”, one of the better songs from Generations. I’m guessing they did these two re-records because nobody heard Generations. “Faith In The Heartland” is probably better on Generations, sung by the guy who actually wrote it, Steve Augeri.

There is also a great bonus track on the Mexican edition: great song, loaded with atmosphere, called “Let It Take You Back”. It’s about nostalgia, ironically, but I can relate and it’s a great tune backed by a strong riff. One of the best tunes on the album. Track it down, you won’t be sorry.

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The Walmart exclusive edition has a really good DVD: live (in Vegas) performances with Arnel singing. “Mother, Father” shows that Arnel can sing. Man, can he sing! I think Journey at this point are a stronger band live than in the studio. Live, Arnel has more character and you’re just in awe of the man’s pipes. This is a good DVD. And for free, it’s worth the price of admission.

So there you have it. Ignore the fanboys and let’s be unbiased here. This isn’t the Journey comeback we hoped for. It’s just another medium-rare Journey album. Until Perry comes back (and let’s face it, he has to one day) and records an album as great and progressive as Trial By Fire, this is a tired band spinnin’ tires.

3/5 stars

DVD:

  1. “Sky Light”
  2. “Any Way You Want It”
  3. “Wheel in the Sky”
  4. “Lights”
  5. “After All These Years”
  6. “Never Walk Away”
  7. “Open Arms (Prelude)”
  8. “Open Arms”
  9. “Mother, Father”
  10. “Wildest Dream”
  11. “Separate Ways (Worlds Apart)”
  12. “Faithfully”
  13. “Don’t Stop Believin'”
  14. “Be Good to Yourself”

REVIEW: The Black Crowes – Freak ‘N’ Roll…Into the Fog (2006)

The rather late first review from Toronto Record Store Excursion 2013!

 

CROWES FREAK ROLL_0002THE BLACK CROWES – Freak ‘n’ Roll…Into the Fog: All Join Hands, The Fillmore, San Francisco (2006 Eagle Records)

I somehow missed this when it first came out!  This double live album (acquired at Sonic Boom Music for the awesome price of $7.99), recorded in 2005, reunited the Robinson brothers with members from the classic era.  Returning are Marc Ford (guitar),  Ed Hawrysch (keyboards, from Toronto Ontario), Sven Pipien (bass) and original drummer Steve Gorham.  I believe the original bassist, Johnny Colt, was busy with Rock Star Supernova at the time…

Anyway, with a set concentrated on classic Crowes tunes from the earlier albums with a few other gems, this is an awesome collection.  There are a few later songs, such as a mind-blowing psychedelic version of “Soul Singing” (Lions).  Many of the songs, “Soul Singing” included, turn into long extended jams.  I wouldn’t call them meandering jams; they are spellbinding and with purpose at every moment.

The Crowes are backed by guests:  the Left Coast Horns and backup singers.  The horns kick ass on the extended “(Only) Halfway to Everywhere”.  They transform “Welcome to the Goodtimes” into something a little more sassy, likewise with “Let Me Share the Ride”, and “Seeing Things” from the first LP.  They also help stretch “Non Fiction” into 10 minutes of exploratory rock.  The backup singers really compliment “My Morning Song” transforming it into an ecstatic moment.

I have always taken a bit of flak from other Crowes fans over my favourite album.  Mine is Amorica, and most people I knew favoured Southern Harmony.  Regardless, it’s a delight to hear “Wiser Time” from Amorica on this album.  Songs like this are really special, and with most of the original players on it, “Wiser Time” shines.

I enjoy that the Crowes threw some rarities, covers and B-sides on Freak ‘n’ Roll.  “Sunday Night Buttermilk Waltz” and “Mellow Down Easy” are among the highlights of these tracks, but I was most excited about “The Night they Drove Ol’ Dixie Down”.  The original is a favourite of mine so I couldn’t wait to hear the Crowes’ interpretation.  And guess what?  It’s awesome.  It would be ludicrous to compare it to the original by The Band.  All that matters is that the Crowes wring more soul out of the song than you’ll hear in modern rock on any given day.

The Walmart version of the CD came with a download code for a bonus track, the Stones’ “Loving Cup”.  I obtained it via the seedy underbelly of the internets.  On the DVD this was played after “Welcome to the Goodtimes”.  I’m glad to have this song because the horns really fatten it up nicely, and it’s also a great tune!

5/5 stars

Record Store Excursion 2013!

PART 1

PART 2

Part 219: Parental Advisory – Explicit Lyrics

Thanks to 80smetalman for the inspiration.

RECORD STORE TALES Part 219:  

Parental Advisory – Explicit Lyrics

Remember the PMRC? If you were around in the 1980’s you might. The Parents’ Music Resource Center was an organization cofounded by Tipper Gore. They caused a lot of grief for musicians and fans alike. The PMRC wanted albums to have ratings, much like a movie, and to restrict certain albums to certain age groups.

PARENTALBoth Dee Snider and Frank Zappa raked them over the coals in a Senate hearing, but much damage was done. The PARENTAL ADVISORY – EXPLICIT CONTENT logo has defaced many rock albums. Sometimes it’s just a sticker, but almost as often, it’s printed over the cover art.  Frank Zappa’s instrumental album Jazz From Hell was even stickered “explicit content” – an album that has no words at all!  Huge chains such as Walmart refused to carry many albums such as this, and this eventually led to the rise of “clean” and “dirty” versions of albums.  It was one way to get the records in the stores.  This way, grandma can buy little Johnny the “clean” version of Eminem for Christmas.

This had an impact on us, an independent chain, as well. In the senate hearing, Dee Snider advised that if a parent is concerned about the music their kids are listening to, “I think a parent could take it home, listen to it. And I do not think there are too many retail stores that would deny them the ability to return the album for something different.”

Dee was 100% right. That was the policy that we had. If a parent wasn’t happy with the lyrical content of their kid’s purchase, we had no problem returning it.  Even though there were times that I’d been yelled at for doing a refund instead of an exchange, we made exceptions when it came to explicit lyrical content.  In those cases we often offered a full refund, and normally getting a refund out of us was about as easy as Steve-O removing this snapping turtle from his ass.

Some parents used to get upset that I would knowingly sell an album with swearing on it to their kid. Now, to be clear, we wouldn’t sell 2 Pac to a 10 year old. We didn’t do that. We would tell the 10 year to come back with a parent, and they’d whine and leave. However when a kid is in their mid-teens, and it’s harder to tell their age (or if their parents have a pickle up their behinds), we’d sell them the disc. And that’s when some parents would get mad. “Isn’t it illegal to sell this to a kid?”

No, it wasn’t illegal, thankfully. I would have hated to live in a world where I couldn’t hear Twisted Sister until my 18th birthday. But I was smart enough to know fantasy from reality, and my parents were trusting enough to give me that much credit.

Once you give the parents a refund, they were always happy. You never know what a parent would be offended by. One guy refused to buy Nirvana for his son, because Kurt committed suicide. One parent refused to allow her kid to listen to “black music” such as Backstreet Boys. No shit.

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Very hard to tell just from this if it’s “clean” or “dirty”

For us, selling used CDs, I think the biggest problem was the “clean” and “dirty versions”. On some discs, it was nearly impossible to tell by the cover if it was censored or not, because often those kinds of stickers would be on the plastic shrinkwrap. Once the shrinkwrap was off, and the CD made it into a used shop like ours, the only way to tell would be to listen.

I spent a lot of time sampling Wu-Tang Clan albums to see if they were clean or dirty. Thankfully I knew where on the disc to check easily without spending too much time on it. We had to sell clean versions for less, because the majority didn’t want them. We had to exchange a lot of clean versions for something else too, when it wasn’t obvious by the packaging.

Looking back at the kind of music people used to get upset about, it seems hilariously blown out of proportion. I’ll end today’s tale with a quote from Dee Snider’s testimonial at the senate hearing:

“The PMRC has made public a list of 15, of what they feel are some of the most blatant songs lyrically. On this list is our song “We’re Not Gonna Take It,” upon which has been bestowed a “V” rating, indicating violent lyrical content.

”You will note from the lyrics before you that there is absolutely no violence of any type either sung about or implied anywhere in the song. Now, it strikes me that the PMRC may have confused our video presentation for this song with the song with the lyrics, with the meaning of the lyrics.

”It is no secret that the videos often depict story lines completely unrelated to the lyrics of the song they accompany. The video “We’re Not Gonna Take It” was simply meant to be a cartoon with human actors playing variations on the Roadrunner/Wile E. Coyote theme, Each stunt was selected from my extensive personal collection of cartoons.

”You will note when you watch the entire video that after each catastrophe our villain suffers through, in the next sequence he reappears unharmed by any previous attack, no worse for the wear.

”By the way, I am very pleased to note that the United Way of America has been granted a request to use portions of our “We’re Not Gonna Take It” video in a program they are producing on the subject of the changing American family. They asked for it because of its “light-hearted way of talking about communicating with teenagers.

“It is gratifying that an organization as respected as the United Way of America appreciates where we are coming from. I have included a copy of the United Way’s request as part of my written testimony. Thank you, United Way.”