When the government actively endorses institutional racism that systematically works to lessen the value of lives solely based on the color of their skin then those who are serving to enforce the law of the government are deserving of neither your respect nor your obedience.
I went to a horribly bad “game music” concert last week and wrote about it over at Mostly-Retro. Read it and be flabbergasted at how badly an organization could fuck up something that seems like such a no-brainer.
Then get purple and funky with Prince.
Gett Off (Urge Mix)
Gett Off (Urge Dub)
Gett Off (Flutestramental)
Gett Off (Thrust Mix)
Gett Off (Thrust Dub)
Gett Off (Rosie’s Dub)
Gett Off (Urge Single Edit)
Gett Off (Purple Pump Mix)
Gett Off (Housestyle)
I want to buy every single Prince album. Every single one. And then rank all of his songs in order of horniness. Even modern day Jehovah’s Witness Prince is a tiny purple horndog. His new song “PRETZELBODYLOGIC” is about a threesome that was so hot the people involved can’t defend themselves from being robbed. At least, I think it is. I don’t know, maybe I’m taking the lyrics too literally – but it’s definitely about boning.
Of course in terms of horny Prince songs, “Gett Off” is kind of the king. A few weeks ago I featured “Get Off” (notice the singular “t”) which is a pretty sex-fueled little number, but it can hold a lubricated candle to it’s misspelled cousin here. For any other artist this would be the most sexual single of their career, but for Prince, who released tracks like “Let’s Pretend We’re Married,” “Do Me, Baby,” “Do It All Night” and “Little Red Corvette” (spoiler: the title isn’t about a car) it might not even make the top 10.
So here we are with nine mixes of the track, because why the fuck not. The dubs and instrumental mixes are interesting, but I’m only including them for the sake of being a completionist. The “Urge” and “Thrust” mixes are good, and definitely worth repeated listens, but they’re not as intense as the original version as they strip out the hard and heavy industrial beat that made the that such a powerful tune. That’s why the “Purple Pump” remix is probably my favorite of the bunch, as it’s just an extended version of the original. Hot.
The first six mixes are taken from a 12″ promo single I scored in Chiba few weeks back, while the remaining three are from a CD single.
Additional Prince incoming soon.
His name is Prince. And he is funky.
And from what I hear he’s rather finicky too. But “My name is Prince, and I am rather finicky” isn’t a good lyric.
The Most Beautiful Girl In The World (Beautiful)
The Most Beautiful Girl In The World (Staxowax)
The Most Beautiful Girl In The World (Mustang Mix)
The Most Beautiful Girl In The World (Flutestramental)
The Most Beautiful Girl In The World (Sexy Staxophone And Guitar)
The Most Beautiful Girl In The World (Mustang Instrumental)
I’m on a big Prince kick right now, thanks largely to his two new albums, well mostly just one of them. Because while Art Official Age is pretty good, PLECTRUMELECTRUM is fantastic, easily one of my favorite records of the year. Prince’s guitar work on the album is otherworldly, and it has some of his best songs in decades. “PRETZELBODYLOGIC” is the hottest song ever named after a baked bread product, that’s for sure. You should buy that record.
Prince’s two new albums are also noteworthy because they’re his first albums with Warner Bros. since 1996, and supposedly signal a new relationship between the artist and the label that will see the re-release of all his old albums complete with bonus tracks. First up on the docket will be Purple Rain, and oh my god a 3CD deluxe edition of that album just might kill me with awesome.
Although if they fuck that up I might kill someone.
Anyways, “The Most Beautiful Girl In The World.” These mixes are from a 1994 EP entitled The Beautiful Experience. As the title suggests, its nothing more than various mixes of “The Most Beautiful Girl In The World,” the six remixes I’m including above, as well as the single version.
Does the world really need six remixes of “The Most Beautiful Girl In The World?” Eh, probably not. But I’m in a Prince mood so here’s Prince. Expect more Prince soon. Prince.
Much belated, eagerly anticipated (by someone I suppose) here we are; my last post on wrestling music – until I waste my money on another dumb wrestling record.
Piledriver: The Wrestling Album II (complete album download)
Piledriver: The Wrestling Album II, as the title suggests, is the second album of music released by the WWE (then WWF). It was originally released in 1987, about two years after the release of the original Wrestling Album. While the original Wrestling Album was kind of a comedy piece, with novelty tracks and skits taking up half of the LP, Piledriver is actually an attempt at a “serious” record – and is shockingly a far better record for it.
The original Wrestling Album was mostly the work of Rick Derringer, along with the occasional contribution by Jim Steinman and Cyndi Lauper, but on this album Derringer takes the backseat, only contributing to two tracks. The majority of the record was written by James A. Johnston, a composer and songwriter who is still creating music for the WWE to this day, so good on him for landing a steady gig.
As I said, this album is shockingly not horrible, although things do get off to a really weak start thanks to opener “Girls In Cars,” a schlocky piece of light rock by Robbie DuPree, the one-hit wonder best known for “Steal Away,” a song that in itself sounds remarkably like the far superior “What A Fool Believes.” This track was used as the intro music to the tag team Strike Force, but I can’t imagine how that worked. That would be like having your intro music by Peter Cetera.
After that we have the title track, performed by wrestler Koko B. Ware. This song is decidedly not horrible. In fact, I’m just going to come out and say it – I kind of like this tune. Yeah, it may be stupid, and Koko B. Ware would never be mistaken for Curtis Mayfield, or even Gregory Abbott for that matter, but he’s competent. And the song itself is actually pretty clever in comparing falling in love to a piledriver. I mean, what better wrestling metaphor could they have used? “Your love hit me like a suplex?” “She closelined me with her beauty?”
Next we have the theme music for the Honky Tonk Man. It’s an Elvis homage, which was kind of the Honky Tonk Man’s whole shtick, so that makes sense. It’s a horrible track, although to be honest my opinion of it might be skewed by the fact that I do, and always will, hate the Honky Tonk Man with every fiber in my being.
Motherfucker tried to hit Elizabeth with his guitar. Fuck that dude.
Things recover slightly as Rick Derringer makes an appearance for “Demolition,” which served as the theme music to Ax & Smash during the majority of their run in the WWE. Simple tune, thrash-inspired metal without much melody, but it’s fun enough. And it certainly fits as a wrestling entrance theme far more than “Girls In Cars.”
It’s followed by probably one of the more (in)famous tracks on the album, “Jive Soul Bro” by the “heel” manager Slick. I assume he recorded this before he became a born-again Christian. It’s pretty dumb, and it’s followed up by the equally dumb “Crank It Up” by fellow loudmouth manager Jimmy Hart. This is light years better than “Eat Your Heart Out Rick Springfield,” mostly because it sounds like a third-rate Rick Springfield rip-off with a heavy dropping of sleaze thrown on for good measure. It’s still not a good tune, mind you, but it’s listenable.
By far the strangest track on the album is Hillbilly Jim’s “Waking Up Alone,” a soft-rock country ballad that features guest vocals by a woman going by the name of Gertrude. I have no idea who that is, but she can certainly sing. Not a horrible tune, with Jim’s complete lack of vocal ability probably being the single thing that holds it back. You give this to 1980s-era Kenny Rogers and you’d probably have a minor country radio hit.
The same cannot be said for Vince McMahon’s “Stand Back.” Bad song. Bad music. Bad singing. Bad. It’s bad is what I’m saying. It’s the worst track on the album, and might be up there with some of the worst tracks on the first Wrestling Album, save for Captain Lou’s number, which as I mentioned before, is the worst song I’ve ever heard in my entire life. Thanks to it, Rick Derringer and “Mean” Gene Okerlund’s take on Derringer’s own “Rock And Roll Hoochie Koo” sounds downright amazing by comparison.
Of course, it wouldn’t be a wrestling album without an all-star number featuring the best and biggest WWE superstars. For the first album that track was The Wrestlers’ take on the classic “Land Of A Thousand Dances,” a cover that could be generously described as a sonic abortion.
This time around its an original tune entitled “If You Only Knew” and it’s…kinda funny.
I think all my praise of this record benefits greatly from lowered expectations thanks to the absolute horrid nature of the first album, but I really don’t think this song is all that bad. It’s definitely a better fit for The Wrestlers, a joke track about all the painful things they’re going to do to the song’s unnamed antagonist, than a cover tune of a 60s novelty track.
It also makes better use of the individual wrestlers, giving many of the biggest names of the time their own lines to sing, including the Million Dollar Man, the Honky Tonk Man, Slick, Jimmy Hart (giving his best vocal performance on any WWF album), Macho Man, Koko B. Ware, Junkyard Dog and Hulk Hogan.
Next week, no more wrestling.
In the middle of a busy week as my mom is currently in Tokyo visiting me. That’s the good kind of busy, but it is making it rather difficult to put the finishing touches on my last wrestling-related post. I’ll try to have it done next week. In the meantime, here’s some Madonna remixes. Because I don’t post enough of those, right?
Hollywood (The Micronauts Remix)
Hollywood (Oakenfold Full Remix)
Hollywood (Calderone And Quayle Glam Mix)
Hollywood (Oakenfold 12″ Dub)
Continually shocked that I find 12″ Madonna singles that I don’t own. Guess I’m not the only person in Japan who likes to rock fierce.
Yeah, Madonna’s “Hollywood” isn’t her best single, but it’s certainly her best single off of American Life, an album that I maintain is one of the worst ever released by a major artist. I stand by that. Sorry. Anyways, if American Life does have a good track, it’s this one, and these are actually some pretty decent remixes of it. I think I posted the Oakenfold mix before, but this is a new recording and it sounds slightly better.
Enjoy, more wrestling next week. I know you’re all stoked.
I got a few new followers it seems, so I’d like to let all of you know that I actually have another website called Mostly-Retro, where I ramble about all things music, movies and games (but mostly music). Check it out. Right now I’m writing about obscure grunge rock. I’m sure that appeals to someone either than me. Maybe.
Moving on. When I posted Hulk Hogan & Itch-Band a few weeks back I had a sneaking suspicion that it would catch on and gain some traction with the online wrestling community. However, I didn’t suspect that it would be the most popular thing I’ve written all year. Like, by a lot. My hits usually hover in the mid-to-high hundreds. That one garnered me a few thousand. And if I’m anything I’m a sucker for attention so, congratulations you all, you made me do this.
The Wrestling Album (Complete Album Download)
The Wrestling Album, released in 1985 and the he first WWF/WWE album. It was produced mostly by Rick Derringer with some assist by Cyndi Lauper, under the pseudonym of Mona Flambe. It features 10 tracks in total, and is a combination of wrestler theme music, oldies covers, a few comedic bits and original tunes. All singing duties on the album are performed by either wrestlers or other WWF personnel, with appearances by Junkyward Dog, Jimmy Hart, ‘Captain’ Lou Albano, and many others. The album is mostly known for its all-star single, a cover of “Land Of 1,000 Dances ?!!?” that features pretty much every wrestler the WWF had at the time.
Oh. And its the worst album I’ve ever heard in my entire life.
And that’s really saying something! Because A: I’ve listened to a lot of shitty albums and B: I actually like two tracks on this record. But it goes to show you just how damn bad the rest of it is.
But before I get to the dogshit, the good tracks. First up, Derrenger’s “Real American.” While it’s most famous for being Hulk Hogan’s theme music during the majority of his time in the WWF, here the song is billed as the theme music to the U.S. Express tag team. However, they bailed on the WWF not long after this album came out, so the song was re-purposed as the Hulkster’s theme music. Still a classic, I get goosebumps of nostalgia every time I play it. Not just that, I do think it’s an honest-to-goodness good song. Not many songs can be blatantly patriotic while avoiding sounding nationalistic, so good job on Derringer for pulling it off.
Trivia note: the backup vocals are by Cyndi Lauper!
The other good track is “Hulk Hogan’s Theme.” This served as the theme to Hulk’s cartoon and was, as the title suggests, was also Hulk’s theme song for about five minutes in 1984. This track was written by Jim Steinman of Meat Loaf fame, and would go on to be reworked as “Ravishing” by Bonnie Tyler. So yeah, it’s an alright tune.
Okay, now that I got that out of the way – everything else on this album is dogshit of the worst variety. “Mean” Gene Okerlund covers “Tutti Frutti” and it’s abysmal. Jimmy Hart drops the dis track “Eat Your Hart Out Rick Springfield” and – wait a second, “Hart?” Is Jimmy Hart asking Rick Springfield to eat…okay I’m gonna move on now before I get incredibly unfortunate mental pictures stuck in my head.
One of the stranger tracks on the album is “Rowdy” Roddy Piper covering the obscure Mike Angelo & The Idols’ track “Fuck Everybody” renamed to “For Everybody.” This, of course, completely changes the meaning of the song into complete nonsense, but that’s the least of its problems as Roddy can’t sing for shit. Seriously, he sounds like someone is pulling out his testicle hair with a pair of tweezers. There’s a reason why They Live didn’t have a musical number.
Junkyard Dog, Hillbilly Jim’s , and Nikoli Volkoff all have songs too, but they’re just run-of-the-mill horrible and barely worth talking about. What is worth talking about, however, is “Captain Lou’s History Of Music/Captain Lou.” This is the worst song I’ve ever heard in my entire life. No question. The constant wailing by The Animal, the hideous carnivalesque music, the bland production (thanks to Cyndi Lauper) and, at the forefront of the shit, Captain Lou’s atrocious, hideous, craptastic singing. If you have any esteem for Captain Lou, wrestling, Cyndi Lauper or pretty much “the 80s” as a singular thing, you’ve been warned – this might destroy all of that.
As for the all-star rendition of “Land of 1,000 Dances ?!!?,” well, that’s just kind of cute. I mean, yes, its horrible and not a single wrestler who makes an appearance on the track can actually sing, but none of them are really trying to. It’s just a joke track, a novelty number and nothing more. Yeah, the joke is horrible and the novelty wears off after about one minute, but it’s a hard song to outright hate. Or maybe my hatred for it is just dulled because, when compared to the sonic manure that makes up the rest of the record, it’s downright Grammy-worthy.
The WWF certainly thought the track was noteworthy. It was the only song from the album to get a video, and they even released it as a 12″ single, complete with an extended version and an instrumental. Now, I know what you’re thinking, what idiot would be dumb enough to buy that?
Land Of 1,000 Dances (Dance Version)
Land Of 1,000 Dances (Instrumental Version)
So if you were listening to the album version of this track and thought, “you know what? This needs to be about two minutes longer and end with a wicked drum solo,” then you are in luck. As for the instrumental, you should download it just so when people ask you “what’s the dumbest, most pointless song in your MP3 collection? you have an easy answer.
Enjoy the horribleness. One more wrestling album coming soon.
It’s slightly better than this one.
Well then, that stupid Hulk Hogan post is now the most popular thing I’ve written all year. I suspected that might go viral just from its idiocy and rarity, but I had no idea it would blow up so big. So to anyone who read that post and decided to check out what this blog is all about, thanks! Before I disappoint you with a series of Madonna singles in the coming weeks, stick around, I promise more wrestling stupidity later this week.
Until then, how about some G N’F’n R?
The first two of these GNR tracks are from a CD-single of “Live And Let Die.” Not just that, they’re from a 3-inch CD single that came packaged tiny “longbox” style. Seriously, check this thing out.
It’s hard to see, but it comes with instructions on how to snap the bottom half off and make it more compact.
Like anyone in Japan would ever do such a thing. You have no idea how well the Japanese people treat their media. You go to a used bookstore or CD store and all that shit looks brand freaking new. It’s insane. It’s great when you find one a little banged up though, because when you do it’s mad discounted. However, such instances are few and far between. Shit, when I buy game music here it usually comes complete with the original sticker sheets. I don’t know how anyone could buy a CD that came with stickers and NOT USE THE STICKERS. Madness.
What was I talking about? Oh yeah, GNR. So, I did some digging and I really can’t find if those two tracks were ever put on any other official GNR release. The live version of “Live And Let Die” is not on the Live Era album, and I don’t think it’s on any of their EPs either. If Axl’s opening rant is to be believed, this recording was filmed for the VMAs. I think I have a vague recollection of that happening, so that sounds about right.
As for “Shadow Of Your Love,” that tune pre-dates GNR by several years. It’s actually a Hollywood Rose track, Hollywood Rose being the proto-GNR group that Axl formed in 1983. While many Hollywood Rose-era tracks would be re-worked or re-recorded for inclusion on several official GNR official releases, “Shadow Of Your Love” wasn’t one of them.
It should be pointed out that “Shadow Of Your Love” is not a particularly good song.
Anyways, while the track never made it to a GNR album proper, various versions have seen the light of day over the years. A faux-live take (with crowd overdubs) was recorded for the Live Like Suicide EP, cut, and then included on the Japanese-only Live From The Jungle EP. A demo by the original(ish) Hollywood Rose line-up was also recorded back in the 80s, which was released a few years ago by Cleopatra Records, much to the chagrin of Axl. As far as I know, this is the only studio version of the track recorded by GNR that doesn’t feature the crowd overdubs.
I would also like to point out once more that it is not a very good song.
As for the live version of “Coma,” that’s from the Japanese edition of Live Era. I actually don’t own the Japanese edition of Live Era, I just snagged this MP3 off of…somewhere eons ago.
From 1972 to 1976, Telly Savalas, better known as TV’s Kojack, released four albums. All of them are generally regarded as being horrible mistakes that should have never existed in this reality or another. Today they are forgotten, and justly so. However, I remember reading once that, when asked years later, why he released not one, but FOUR horribly hideous albums, Savalas replied simply, “they let me.”
I feel that a similar explanation probably lies behind Hulk Hogan & Itch-Band, the Hulkster’s 1983 self-titled EP that was released only in Japan. He must have said to someone “I want to release an album” and that someone had enough power somewhere to let that happen. That person must be put on trial for crimes against humanity.
The album was recorded and released during the tail end of Hulk’s run in the New Japan Pro Wrestling League, where Hogan was so damn popular that his nickname was simply “Ichiban” which means “Number One.” I guess that partially explains why Hogan’s band name is “Itch-Band,” but why they just didn’t go with “Ichiband” is beyond me.
There are four songs on Hulk Hogan & Itch-Band. The first is “Itch Ban,” a self-aggrandizing boast track where Hogan exalts the power of his wrestling skills; his massive wealth; and even his cameo appearance in Rocky III, all to a disco-funk beat and a chant-like chorus of “Ichiban is Hogan San! Hogan is our Champion! Ichiban Is Hogan San! Hogan is number one!”
And it must be said, right up front, that Hogan’s singing voice is one of the most atrociously awful singing voices I have ever had the extreme displeasure of hearing in my entire life. It is so horrific that I didn’t actually recognize it as his voice the first time I listened to the record. I guess I expected Hogan to sing like he talks, all deep and gutteral and “what’s you gonna do brother!” But instead he sings in this bizarre high-pitch with a strange accent that sounds like…I don’t even know how to describe it….like a mentally handicapped Hanna-Barbara cartoon villain? You know how the bad guys in cartoons always make that “bwa ha ha” laugh? That’s Hogan’s singing voice…maybe with a touch of Jimmy Hart thrown in for good measure. It’s something that has to be experienced, it escapes words.
After that nightmare abortion from hell we’re treated to “Night Home” a quiet instrumental number where Hogan gets to showcase his…surprisingly decent bass skills. That’s right, Hogan plays bass, and he’s not that bad! Who knew? Actually, as a whole the music on Hulk Hogan & Itch-Band isn’t horrible – it’s just Hogan’s singing voice and the ridiculous lyrics that sink it, both of which return after that instrumental interlude.
First, we’re treated to “You’ve Got To Leave,” where Hogan laments his upcoming departure back to the states, followed by “Axboomba,” an ode to Hogan’s then-finishing move of a running arm lariat (and totally not as cool as the flying leg drop). Throughout both Hogan’s vocals rest somewhere between the sound of nails on a chalk board and the howls of a cat in heat in terms of annoyance and auditory displeasure.
Hulk Hogan & Itch-Band might be one of the worst records I’ve ever bought. Although musically benign, Hogan’s horrific howling, matched up with some inane self-important lyrics, truly outshine any talent that was put into the music. Beyond hideous from start to finish, its only saving grace is that, with a brief four tracks and a running time under 12 minutes, it manages to stay firmly in so-bad-it’s-entertaining territory simply because of its brevity.
But it’s still better than WWF’s Wrestling Album. At least it doesn’t have Mean Gene singing “Tutti Frutti.”
You know one of the best things about Japan? No one here likes Nicki Minaj.
Feelin’ Alright (Extended-Mix)
Never Let Me Go (Extended-Mix)
In The Rain (Extended-Mix)
Dee J (Extended-Mix)
All The Way (Extended-Mix)
Motor Force (Extended-Mix)
Capsule are an electronic music duo out of Japan (shocker, I know). They’ve been around for a very long time, but they’ve barely broken through internationally, which is a surprise to me, as they’re fucking incredible.
The group is a duo, but the core of it is a man named Yasutaka Nakata, who is Japan’s foremost electronic/dance music producer at the moment. In addition to his work with Capsule, he also produces music for the super-huge-gigantic pop trio Perfume, as well as the solo artist Kyary Pamyu Pamyu, who is probably the closest thing j-pop has had to a crossover success since Pizzacato Five.
I think of the three Capsule is the least-popular, but that speaks less to Capsule’s lack of popularity and more to the HOLY SHIT HUGE popularity of KPP and Perfume. They’re certainly just as good as those other groups, if lacking a bit in personality (while KPP practically explodes with wacky quirkiness). If you like upbeat, club-ready house/electronic tracks then you should really dig on them.
These extended tracks are all taken from the 2CD edition of their 2012 album STEREO WORXXX. The regular, single CD version is available on iTunes, and I suggest picking that up if you like these tunes, it’s a good jumping on point for the group.
I KNOW! What were the odds?
Why’s It So Hard [Live]
Secret (Junior’s Luscious Single Mix)
Bedtime Story (Orbital Mix)
Fever (Hot Sweat 12″ Mix)
Human Nature (Love Is The Nature Mix)
Express Yourself (Shep’s Remix)
Friday was the first really nice day in Tokyo since the beginning of August (when it gets to the mid-90s Fahrenheit with a humidity of approximately 100000%). High 70s temperature, nice wind, survivable humidity. Just all around beautiful.
So I went for a nice three and a half hour walk, give or take.
The compulsive collector’s guide to losing weight. That’s what I call my exercise plan. If I want to go shopping for records or CDs that I have absolutely no need for, that’s great – but I gotta walk there. Before the summer heat hit I managed to lose over 50 pounds in five months, and I’m hoping that I can pick up where I left off now that the weather isn’t being an asshole anymore.
And while the main winner in this situation is my heart, you all make out too! Because I pass the records onto you.
These Madonna tracks are all CD rips, taken from a series of single that I snagged at a Disk Union. Most of these have never been posted on my site before, save for “Bedtime Story (Orbital Mix)” and the remix of “Express Yourself.” I originally posted vinyl rips of them several months/years ago, but these rips sound much better.
Additionally, the “Human Nature” remix is the first version of that song I’ve actually liked. It’s a synthgasm.
New Power Generation (N.P.G.) [Funky Weapon Remix]
New Power Generation [T.C.’s Rap]
Brother With A Purpose
These are all from the CD single for “New Power Generation.” Remixes of “Thieves In The Temple” are also on the single, but I posted those mixes not too long ago, and I think my vinyl rips sounded fine so I’m not going to replace them tonight.
“Get Off’ is NOT “Gett Off.” Actually, it, along with “Lubricated Lady” are really two additional remixes of “New Power Generation.” They also segue together quite well. “Loveleft, Loveright” also shares some elements with the main single, but it varies it up a lot more.
Also, yes, there is a song called “Lubricated Lady.” A song title like that would easily rank as the most offensively stupid in any artist’s back catalog. But isn’t just any other artist, and with song titles like “Pussy Control,” “Scarlet Pussy” and “Soft And Wet” I don’t even know if it ranks in the top ten.
Prince is a classy motherfucker.