You have got to be f&%king kidding me! Van Halen – Live Tokyo Dome In Concert

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I was introduced to Van Halen by a cousin who went to Hollywood High and used to see Roth walking the streets of L.A. pre-fame, and he brought their self-titled debut with him in the summer of ’78 when I was just turning eleven.

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It blew my young mind. I don’t know how many copies I blew through in my Walkman in the early 80’s, but it was on there a whole lot. Then for a few years you could count on a good Van Halen record to be the sound of your summer – even if it was released in December, Van Halen made things great. When “the change happened” and Sammy Hagar took over, it still rocked. Despite what hard core Roth fans say, 5150 was an awesome record for Van Halen and Sammy Hagar fans alike. It still gets pulled out on occasion and put on the old cassette player.

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Then it started to slip, not all at once, but they couldn’t carry you through a record the way they once did. Later the wheels came off all together. Hagar to Roth to Cherone to Hagar to Roth to… it’s irrelevant.

The recent press with Eddie and David and Alex and Wolfgang(?) would have you believe this is a return to those early glory days… it isn’t. As I watched that Jimmy Kimmel concert all I could think was that Roth can’t hold his voice together. Sure he’s lost none of his showmanship, but he can’t, well, um, ah… he wasn’t much of a singer before, and now well… he just can’t fuckin’ sing.

So now you get this Live In Tokyo Dome, which they are proud to say is authentic… no auto tunes or overdubs… the band is great. Eddie can play the way Eddie has always played, Alex sounds like Alex and well, it is all overshadowed by the fact that David can’t sing. Maybe if I was seeing it live in person the spectacle of a big rock show would compensate, but there is no way around it. They had vocal talent… but for whatever reason, they were exiled to Chickenfoot… which is now the better band.

So what you have here is more than two hours of songs you used to love being sung out of tune or just plain shouted. It’s rather depressing; Captain Roth steering the great ship Van Halen right into the iceberg. Just go out and buy the re-mastered vinyl from the Roth years which is all going to be out in the next few months. You don’t want this, it hurts too much.

You know what they say about blinking… Nirvana – Sliver/Dive 7”

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So I put myself on a few mailing lists so that I don’t miss something cool when it comes out. Hence when Newbury Comics put out a limited run of the Strokes Room On Fire last week I scooped it up before it sold out the next day… it hasn’t even been shipped, yet e-bay re-sellers are already asking over a $100.00.

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Just yesterday morning I received an e-mail from Newbury Comics about a split coloured (pink/Blue) 7” of Sliver/Dive by Nirvana. It wasn’t two hours old when I got to it…

Gone

Sold out

e-bay resale has two listed already for over $95.00.

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Now you can still get a regular black 7” for around $15.00 which is pretty cool, and you can still grab the 2011 Record Store Day Nevermind Singles Box set for just over $60.00 through discogs or e-bay.

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The 2011 set has 4 10” discs and is basically a vinyl replica of the CD singles with b-sides included from the Nevermind era. It is a pretty cool set, but damn, the pink/blue is pretty sweet looking. Oh well…

GET IT NOW or forever hold…! The case of Aimee Mann & Mobile Fidelity

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One of my favourite artists on this planet is Aimee Mann. Album for album there just hasn’t been a record she has put out that made me doubt where she is going. Even her latest effort with Ted Leo, The Both (which I wrote about a while ago), was an incredibly satisfying union that I hope happens over again and again. (Get it here)

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However, Aimee has also provided me with perhaps the greatest example of ‘buy it’ or miss out that I can get.

Coming off an Academy Award nomination for the soundtrack to Paul Thomas Anderson’s film Magnolia, Mann released what is probably her most well known record Bachelor #2 or, The Last Remains of the Dodo. The album also included several songs from the Magnolia soundtrack and was incredibly well received by critics and fans alike.

A couple years later Mann released the phenomenal Lost In Space, which was really well received by British critics, and dumped on by North American ones. Regardless, she would appear in Buffy the Vampire Slayer (TV) performing two songs from it. The art work for the project was done by award winning cartoonist Seth, which just added to the cool factor on this record. It still remains one of my favourite.

Of course both of these albums were put out before the recent vinyl revival, so they appeared only on the compact disc format…

UNTIL

2006

Mobile Fidelity, which loves to re-release critically heralded records got together with Mann. Now I also wrote about MoFi a while back, but to briefly recap, they do awesome things with wax, and they do it all on audiophile grade vinyl (180 gram or higher), from original source tapes and in limited numbers. When the album is done right – it is a collector’s dream come true.

Bachelor #2 and Lost in Space were released at the same time and likely would have put you back anywhere between 30 and 45 dollars back in 2006.

Well, nine years later.

A vinyl copy of Bachelor #2 sells for $203.84 off of discogs, and between $226.38 and $320.69 on e-bay.

A vinyl copy of Lost In Space sells for $274.42 on discogs and also $226.38 + on e-bay.

I don’t know about you, but that is out of my price range. I mean maybe if I won the lottery, but, well, like so many other cool things – it’s a nice thought but reality is where I live.

So all I can say is this…

Hey Aimee, if you’re out there, maybe you could re-release these records on vinyl again, and maybe some others too. I promise to buy at least two or three copies of each as my sister is also a fan and they make great birthday and holiday gifts.

P.S. If I could also get ya to sign this poster I have for my kids; it was their first concert ever, and you know, that would be just kinda awesome and stuff, and maybe you know… well maybe bring your Christmas show north to Toronto once… and… well, thanks for considering, and putting out great music, and…

 

A Grand Illusion? Paul McCartney & Wings – Wings Over America & Rockshow

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The fire would crackle and the camp director would pull out his guitar and play. Three songs would ring out of the gulley or over the lake and drift through the air toward nearby Waterloo… the songs were always moving. He would start with Simon & Garfunkel’s “Punky’s Dilemma” switch into an original called “Heroes” and finish with the Beatles “Blackbird.” Those songs have lingered in my memory for 35 years, and I suppose they’ll be with me for the rest of my life – it was just that powerful.

It’s also telling that I have always identified with McCartney’s live version over the Beatles original because of the illusion of immediacy; the idea of an acoustic guitar being played directly to you rather than through a set of speakers. Of course the reality is somewhat different.

Wings Over America/Rockshow is a performance piece, the show that solidified the conceit that a concert needed more than musicians and instruments to create a great ‘show.’ The set list itself is meant to bring about different moods throughout the performance in what was a grand spectacle. The background showing huge pictures of super villains and large displays of… well anything that was needed.  Even Wings themselves trading off vocals and playing the band camaraderie card comes off as forced when you watch Rockshow. In fact, individual songs are being spliced mid-performance to keep the illusion alive. Introductions taken from Seatle placed into a song played in L.A., horns from Seattle appearing in L.A. footage. Everyone appears as best friends. It doesn’t even matter if this was truth or not, as the illusion of Rockshow moves directly onto the recordings for Wings Over America which contain numerous studio overdubs. The entire package is rock ‘n’ roll in its greatest excess. It is selling the trappings of a spectacle as both a huge performance and an intimate live show. The thing is, does the reality change how you feel about listening/watching it go down?

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For me at least, it doesn’t. My cassette copy of Wings Over America is worn from the amount I listened to it between the ages 13 & 20, and I continue to hear it with teenage ears and sensibilities. Rockshow is a document of a 70’s stadium concert at the height of their power. This is a time when bands toured to support record sales rather than the current model of album to get interest in seeing bands live. Yes it is spectacle, but so is much of modern entertainment.

The Wings Over America vinyl is three records of 180 gram bliss lovingly taken from the original sources. It sounds fantastic. The blu-ray of Rockshow also sounds fantastic, and does its best to restore the movie to top quality taken from the original 35mm film and turned into stereo 5.1 surround sound.

Sure I would love to be in front of a true artist delivering an intimate performance by campfire. Yeah, I’d love to invite McCartney over for dinner and see what he does with the guitars hanging on the wall. Hell, I’d love to have that old camp director over. Anyway, we all know that isn’t about to happen, so at least I can put some vinyl on and dream my way into the past.

Great Driving Song + Amazing Driving Record = Steve Wynn & the Miracle Three – Static Transmission… I Really Want This!

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I don’t remember where I was or what I was doing. In my imagination it was behind the wheel of a blue ’69 Mustang with windows rolled down and a stereo so loud you couldn’t hear the wind. Dust is flying from behind the wheels and I’m flying at twice the speed limit as “Amphetamine” pushes the speakers to their limit. My hair whips against the front of my sunglasses and the vibrations in my throat tells me I’m singing along, “na na, na na, yeah, na na, na na, yeah.” It’s Saturday, the sun is setting, I have a place to be and I don’t care what time I get there or if I arrive at all. Life doesn’t get any better.

That is how I picture hearing Static Transmission for the first time. It starts in reflective themes and dreamy sequences of “What Comes After” and as CD progresses things pick up as guitar play and energy pick up. By song five, “Amphetamine” you’re lost and you never want to be found. Guitar buzz and stories ring out and you could be at a party of 100 or a party of 1 and it still rings of that late teens/early twenty something energy where everything emanates with the possibility of summer nights. Even as things slow down again it just brings visions of slow dances, crashing waves and fires at the beach.

This is a summer record, full of youth and life, and I want it on vinyl. I want it to spin on my turntable as I look out the window into my backyard and watch the cardinal land in the Japanese maple. It plays as a soundtrack for memories, real or imagined, and it lifts me up into a lighter mood.

BUT

We can’t have everything. It was released in 2003, and as great a record as it is, that was the only year it was released on vinyl. Discogs has copies for sale, but the prices are all in euros and very expensive to boot.

Sometimes we must be satisfied by what we have and leave some dreams in the subconscious where they belong.

Just In Case You Forgot! The Jeff Beck Group – Truth (Mono)

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Back in the day, when young stoners would start discussions about the finer points of Led Zeppelin, someone would always stop the conversation with a single word – Truth. A small hush would hit the room as someone would explain that Rod Stewart was once cool… maybe twice ha ha… then tell the huddled few about the Jeff Beck Group. Discussion goes toward how Page ripped Beck off by showing him “this proto-type for Zeppelin” even going so far as to perform the same cover of “You Shook Me” on their debut. (Same Howlin’ Wolf song, but way different interpretations.) By this point I would drift away from all the “conjecture bullshit”, and find a good speaker to sit close to as the buzz wore off.

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I have never been one for conspiracy theories, and all the talk about Beck vs. Page has always kinda bored the crap out of me. If there is any talking to be done, it should be by the music itself. So here it is – Truth, the first Jeff Beck Group record, has been re-released on mono – exactly as it was recorded, and exactly how it should be heard.

I’ve had friends ask me about mono vs. stereo and all I ever say is this; what format was the album recorded for? In the late 60’s the switch was taking place, and it started with a bunch of mono records being transferred to stereo after the fact. That is a good portion of the reason that the Beatles have re-released sets in stereo and mono and each had to be re-mastered for the individual format.

Mono means that all music is being put out through a single channel. You could have multiple speakers but the same identical sound, with equal distribution, will come out. In stereo, music is going out multiple channels allowing different sounds to come from multiple speakers. Hence, you might hear a vocal out of the right side and a guitar out of the left.

Anyway, both are cool, and both have an impact on how you hear the music. My personal gauge is how the music was originally released.

For the longest time Truth has only been available in the stereo format, but this newest import has been re-mastered from the source tapes back to its original mono origins. Whew.

With all the Zeppelin re-issues going out, I thought that someone should mention that this classic record, which to me plays as almost a companion piece to Zep I and vice versa, is out there to be had.

But act quick! Amazon in Canada is nearly sold out. Northern Volume still has a copy or two, but it could get difficult to find in a hurry.

 

Please Billy … or William… Whatever, Just Shut the ^%$& Up! Smashing Pumpkins – Siamese Dream

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A very long time ago I learned that you had to separate the artist from the art. Let’s face it, some of today’s biggest talents are, um, ah… well, afflicted with acute asshole disease. ‘Smack talk’ amongst themselves (other celebrities) is generally the first sign that they need help, but it just doesn’t stop there. Take Jack White; first he starts dissing Dan Auerbach of the Black Keys for “stealing his sound” and then he publically goes after Meg White who is soft spoken, shy, and knows will never say anything back. (He would later apologize for both.) Of course there are dozens of other instances, let’s not forget “rider-gate” a few weeks ago, but let’s get to Billy.

A couple months back mister Corgan was quoted as saying that Kurt Cobain was his only peer, and that everyone else just basically sucked in comparison. Then he anointed himself king by pointing out that his he had a more ‘enduring body of work’ than Pearl Jam. As if that wasn’t enough, he went on a tirade about how much better he was than Dave Grohl and the Foo Fighters, this despite the fact that the Pumpkins haven’t released a relevant album since the 1990’s. Then only a week or two ago, an audience broke out into “Happy Birthday” during his show. Instead of simply taking the compliment, he chastised them because he wants to be called “William” now.

Now first off, over the long history of the Pumpkins, I’ve got to give Corgan props. He has always tried to give his fans something to cheer about in terms of releasing B-Sides and collectibles across various formats over the years. Hell, seven years before Radiohead dropped In Rainbows to fans in a “pay what you want” initial campaign, Corgan put out Machina II/The Friends and Enemies of Modern Music over the internet for free. So in terms of fan treatment as a business decision, he mostly gets it. But in actual live situations… where a microphone sits in front of him for the purpose of talking…

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Well, William – Dude… of all the 90’s era rock acts I have ever seen, I only walked out on 1 – The Smashing Pumpkins at Lollapalooza. I went expecting a great show by your band. Believe me, L7, The Breeders, George Clinton, and the Beastie Boys brought it that day. However, Billy, you just had to open your mouth to talk. You rambled some shit about the country you were visiting (Canada), and then kept at it. Instead of playing, you kept speaking in a condescending tone to your audience. I knew that day I wouldn’t go to another Pumpkins show, because you just can’t put your ego aside when your outside the studio.

Still, there is no denying the power of the music. You rock… you put out some great records. Furthermore, as artists go, I like what you have done. I may not have followed you on the musical journey past the Machina albums, as it wasn’t really to my taste, but I appreciate your statements about the growth of artists… it’s just that I have a problem with people whose arrogance leads to self proclamation.  “I’m better than – fill in the blank”, just makes you sound like a dink. There is no need to raise yourself on the backs of your peers. You can certainly have an opinion, but remember that sometimes it makes you sound both petty and idiotic.

The result is, now when I put on your records around friends, we don’t discuss how fantastic the music is, we start by rolling our eyes about what obnoxious crap you did recently.

Siamese Dream is a fantastic work, and when it came to a special edition vinyl, I had to grab it. I have no regrets about what music sits in my collection, and I’ll continue to buy your music if I find it interesting. I’m still a fan, but please Bil… William, I’m begging you man – SHUT THE FUCK UP!

Oh, I get it! David Bowie – Aladdin Sane

Ziggy invades America, less a space alien and more a genuine rock star. While it is easy for most of us to see the classic The Rise and Fall of Ziggy Stardust and the Spiders From Mars as the peak of a string of amazing records, it was Aladdin Sane that solidified his rock god status and was the real beginning to his conquest of the States.

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So now it has been 42 years since its release, and I’m searching through the various vinyl editions that can be had, when I come across these pieces of magical wax.

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Here I was thinking that a 180 gram re-master would be the best thing I can get, but… what the hell is the story with this little gem.

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You see, I got it new at a very nice price which to me meant it was a 2013 version, but it has bonus material from the 2003 30th anniversary set. Well, it seems that it has sailed over from Japan and   is a promo copy for 2013 that is not dated. According to Discogs, the only two coloured vinyl disc version of Aladdin Sane to see official release came from Japan on an “undetermined date.” What is weird about it, is that for such a cool limited imported promo pack, the price on e-bay has remained relatively low. In fact, there seems to be a few such Bowie albums on the market that fill a similar niche. If your a Bowie fan that wants stuff on vinyl, check it out.

http://www.ebay.com/itm/David-Bowie-The-Rise-and-Fall-of-Ziggy-Stardust-2XLP-COLOR-VINYL-W-2-INSERTS-/251898411747?pt=LH_DefaultDomain_0&hash=item3aa650bae3

For A Couple Hours They Were The World’s Greatest Band! Urge Overkill – Saturation

It’s funny the tricks that your mind creates for some screwed up database of how you remember things. As I drive on the 401 there is a man-made lake that you can see as you drive by the Niagara Escarpment, I think it is named Lake Kelso. Hundreds of times I driven by this spot in all seasons, weather, and times of day and every time I smile. The opening chords to “Sister Havana” play in my head and I picture an old Volvo with a tape deck that has wires hanging out, stretching toward a CD player that rests on a pillow on the floor. My roommate Kevin is hyped by this band and is telling me the finer details of their former indie label existence. I’m enjoying the song and nodding a lot as I look through the CD booklet. One song becomes another and by the time we hit downtown Toronto and the final notes of “Heaven 90210” ring out, I’m a fan. I know that when I get home I’ll be picking up this record and telling everyone who will listen, Saturation is a GREAT ALBUM!

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Later that night as Urge Overkill took the stage things were a little different than usual. It being 1993, most bands were dressed down in ripped jeans and whatever t-shirt was handy at the moment. These guys were in flashy suits with big gold chains that had carried the UO medallion around their necks. As the show kicked in, the maybe 400 people present were treated to a freakin’ rock spectacle of epic proportion. For the next couple hours this band was convincing this audience that they, Urge Overkill – Nash Kato, Edward (King) Roeser and Blackie Onassis  were the greatest rock ‘n’ roll band on the planet. They swaggered, they posed, and they had a great album that was being performed in glorious fashion. Walking out of Lee’s after the show I was a ‘HUGE FAN’ and absolutely convinced they would be massive.

Critics loved them, other rock stars couldn’t heap enough praise on them, and they were in every alternative magazine of the time being ‘rock stars’. But that was pretty much the height of it all. They just didn’t catch on. The next album, Exit The Dragon, didn’t capture audiences imagination the way Saturation had and they broke up.

So here it is more than twenty years later, and I want to honour that day, that time, when for a couple hours Urge Overkill was the world’s greatest band. So I want this:

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Problem is the price and the condition. A good clean copy with a mint cover is around $100 once you add shipping. Oh well, maybe Geffen will do a re-release on vinyl… that would be cool! Still I want this album in my collection. I want this beautiful piece of orange vinyl playing at 33rpm as it takes me back to memories of Lake Kelso and Lee’s Palace.

Where Have You Been All Of My Life? The Dirtbombs – Ultraglide In Black

Something about ‘garage rock’ makes it so timeless. Maybe it’s the fuzzed out guitars or the berserker energy with which the six-string is played, but it certainly rocks the house when done right.

Perhaps that’s why I got so excited the first time I heard the Dirtbombs. They had even more than I could’ve imagined going for them. Backing the vocals and guitar ‘riffage’ of Mick Collins is a band that boasts dual bass guitar and dual drums and every song they power through is uniquely their own, even when they pull off a great cover.

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Which is exactly what Ultraglide In Black is, a covers album (with one original). Every bit as powerful as anything the White Stripes have done, Ultraglide in Black looks back at some classic R&B and soul and channels it through the ghost of the Jimi Hendrix Experience and MC5.

If you take a song like Stevie Wonder’s “Livin’ For The City” which thematically deals with systemic racism, the original comes off musically with a gospel and hopeful air. Under Collins, the Dirtbombs version is anger and seething. It strips away the hope and with the help of both a sinister sounding bass and guitar the songs conclusions ‘of just enough’ sounds angry and futile.

In fact, this album is Collins interpretation of ‘Black America’ through the songs of the artists he grew up with. You get Sly Stone’s “Underdog”, Curtis Mayfield’s “Kung Fu”, Phil Lynott’s “Ode to a Black Man” and Marvin Gaye’s “Got To Give It Up,” blasting out the speakers with this tremendous power that Mick Collins finds for every damn song on the record.

As you finish Ultraglide In Black, you find yourself wondering why this album has sat under the radar for most people. It isn’t just a great record worth of songs, it is a classic record that should be in everyones collection.

You can get it here.