“The Sound of A” is in the air…but it took 50 years to get there!
Alice Cooper’s Paranormal was one of the most delightful rock releases of 2017, which really came as no surprise. Alice has been consistently awesome for several albums in a row. Any time he works with producer Bob Ezrin, you can count on quality. The new five track Sound of A EP is quality.
The song “The Sound of A” was written in 1967 by Alice and bassist Dennis Dunaway. When Cooper reunited with members of the original band for some songs on Paranormal, Dunaway suggested revisiting “The Sound of A”. With Bob Ezrin’s help, “The Sound of A” has become another in a long line of understated Cooper classics. It has the sound of Welcome to My Nightmare with a hint of the present. Another apt (but coincidental) comparison would be “Journey of 1,000 Years” by Kiss.
“The Sound of A” is packaged with four unreleased live songs: “The Black Widow”, “Public Animal #9”, “Is It My Body” and “Cold Ethyl”. Of these, the real treat is “Public Animal #9”, an old School’s Out favourite that has never seen release on any Alice live album. This is from Columbus Ohio in May 2017. As is often the case, “The Black Widow” is shortened live, but “Public Animal” is damn fine. Can you believe it took this long to get a live version? It’s one of the best on School’s Out, albeit in the shadow of a big hit. Even “Cold Ethyl” is hard to find live. You can locate it on 2011’s No More Mr. Nice Guy via Concert Live, and the semi-official Extended Versions and Alone in His Nightmare.
Don’t miss The Sound of A. Consider it a live EP with some stuff you’ll be glad to have.
Happy belated birthday to this single, released March 3 1987!
GETTING MORE TALE #658: Wanted Dead or Alive
I didn’t care for Bon Jovi. They seemed like a “girls’ band”. It seemed to be all about the screaming ladies. I did like Europe. “The Final Countdown” was a pretty cool anthemic track, with a sci-fi lyric. The rock press were pitting one band against the other: “Who’s better, Bon Jovi or Europe?” I took Europe every time.
Besides, what the hell was a “Bon Jovi” anyway?* Bon means “good”. “Good Jovi to you, sir!”
I continued to ignore Bon Jovi, while receiving Europe’s The Final Countdown as a gift for Easter 1987. The album took a couple listens to get into, but once I did, “Rock the Night”, “Ninja” and especially “Cherokee” blew me away. Europe weren’t a “girls’ band” to me, with songs about Ninjas and Cherokees.
My sister and her friends loved Bon Jovi. One of them had a crush on keyboardist David Bryan. I thought he looked weird, like he had gummy worms in his hair. I remember they were writing “BON JOVI” and “DAVID BRYAN” in the sand at the beach. I erased it and changed it to “BON SCOTT” and “BRIAN JOHNSON”. Take that, eh? No wonder I thought Bon Jovi were a “girl’s band”. Anyone who had a younger sister at the time probably thought so too.
Considering that I own an extensive Bon Jovi collection now (Richie Sambora era only), something must have changed. What was it?
Jon Bon Jovi and Richie Sambora wrote a song together in Richie’s mom’s basement. It was an acoustic song called “Wanted: Dead or Alive”. When I saw the music video in July of 1987, it changed all my impressions.
That 12 string acoustic rang true, on a song that deserves all the awards, video play and accolades. Something about the song was very real. Writing in that New Jersey basement about the road life was about as honest as Bon Jovi get, and you can hear it in the recording. “Wanted: Dead or Alive” turned me around rather quickly. I taped the video, and from there put “Wanted” on a cassette tape. The cassette tape had a lot of new songs from the summer of ’87: Ace Frehley’s “Into the Night”, and Ozzy’s live “Crazy Train” were among those tracks. Eventually I had to get all those albums.
I received the Frehley and the Ozzy for my birthday. I bought Bon Jovi later on in September. By then, I was familiar with all the singles and a track called “Raise Your Hands” from the movie Spaceballs. I just had to digest the album tracks.
Slippery When Wet was…OK, I guess. Not as good as The Final Countdown was. Not all it was hyped to be, but good enough. “Social Disease” was pretty bad. Slippery struck me as a couple songs short of a great album. Good enough, though, to hang on ‘til the next one.
1988’s New Jersey was the next one. It seems they ditched 80% of the schlock and really tried to get back to their roots. I loved New Jersey and it was my first Bon Jovi CD once I had a player. Whatever authenticity they had on “Wanted: Dead Or Alive” spilled all over New Jersey.
“Wild is the Wind”, “Blood on Blood”, “Ride Cowboy Ride”, “Stick to Your Guns”, and “Homebound Train” had the magic. There is something real and close to perfect about those songs. Bon Jovi put out an album soaked in passion, as opposed to the sterile and clean Slippery When Wet. It didn’t match the 12 million copies sold of Slippery, but New Jersey was so slouch at 7 million.
It’s funny to be using words like “integrity” when speaking of Bon Jovi today. They’ve become an adult contemporary project; no longer a rock band. “Wanted” was their first acoustic hit and it’s often considered one of the landmark ballads of the era. In many respects, the lite-rock Bon Jovi of today was forged by “Wanted”. But that doesn’t tarnish the song itself. “Wanted: Dead or Alive” is still fantastic. Even better is the 1987 acoustic version, only available on cassette single (or Japanese CD single).
You can go ahead and scoff at Bon Jovi, in light of the last 10 or even 20 years. They’re a mere fraction of the group they used to be. Yet “Wanted: Dead or Alive” still stands as a high water mark that any band would be jealous to have.
Big thanks to Craig Fee over at 107.5 DaveRocks for this one!
During Craig’s live “Tedious Tiresome Trivia” segment on the Tuesday afternoon show (on which he takes live phone calls), he received a call from Ray at “Visa Mastercard”. The entire thing went out on the air, live, just as you hear it below. There’s nothing Craig loves more than messing with a solicitor calling into his show. Needless to say, things go wonky very quickly.
What I learned from “Visa Mastercard” on this call is that, apparently, your credit card number is not personal information. It’s right there on the face of the card, so that makes it public…apparently. “Anyone can see that or memorise that,” according to the “Visa Mastercard” rep (“not a third party!”) that unwittingly called a radio station.
Do you like soundtracks? Do you like Star Trek? Well then! I will be LIVE tonight at 12:30 AM (ET) Saturday morning with Robert Daniels on VISIONS IN SOUND. Tune in on your dial to 98.5 or internet to CKWR! You folks in the UK can tune in as you enjoy some morning java! Join Us THIS Saturday 12:30-2:30am (ET).
This Week On Visions In Sound – “The 25th Anniversary Of Star Trek – Deep Space Nine” – This week we celebrate the 25th Anniversary of the third Star Trek series, Deep Space Nine. Also joining me this week is Treks-pert Bob Puersten and special guest Michael Ladano as we discuss this highly popular series. Featured music will be from series composers Dennis McCarthy, Jay Chattaway, John Debney, David Bell and Paul Baillargeon.
GETTING MORE TALE #657: Operation: Van Halen (D’s story) Guest post by guitarist and songwriter D
Alright, so I’m pretty sure all of us can relay some embarrassing moments from our teenage years. I dunno if it’s the changing hormones or what, but we tend to be pretty damn stupid in these formative years. I have been thinking about my teen years a lot recently, most likely since my high school 10 year reunion is coming up in 2019.
I don’t if it’s nostalgia or what, but I have suddenly been reliving a lot of moments from this time. Here’s something you have to know to know about me first before I start my story. I spent most of my education in public schools in Southern California, namely elementary school and college (two years at a Pasadena City College and then three at UCLA as a transfer student). I switched to a small Christian K-12 school for middle and high school because of bullying (cops got involved, nasty stuff). While I was a working class kid of a single mom, this small school had scholarships and financial aid that made it possible for me to attend.
It is at this small school in “SoCal” that my story takes place. This story involves a CD; well, two CDs to be exact. You see, music has been my obsession my entire life (it eventually became what I studied in college). I had a far ranging interest in all kinds of music from around the world but as a teenager rock, namely punk and metal, amped me up the most.
Above all bands was Van Halen.
Pretty much every person that knew me also knew how obsessed I was with the band. It didn’t matter what incarnation of the band, I owned every damn CD and cut my teeth as a guitarist on all those records.
So while I was a teenage metalhead and punk, what went along with that was that I was a bit of…let’s say, a social anomaly. I didn’t really fit into any clique, but most knew me as a decent guy who was just a tad obsessed with Eddie Van Halen. To go along with this, I was horrifically shy around girls I found attractive.
Awkward doesn’t even really cover it, but holy shit did this come to a head in a hilariously embarrassing way with a girl I liked from age 14 to age 15 (this story ranges from late middle school to early high school). Let’s call this girl “S” so that this never makes it back to people I know. Remember how I mentioned that I was a bit of a social misfit? This girl S wasn’t. In fact, she was popular.
Very. Popular.
My dumb ass had the bright idea to get a crush on a (future) cheerleader who hung around (future) jocks that hated my guts (incidentally I did play starting right tackle on the high school football team) and boy was I about to make my mark. Remember how I mentioned that I was shy around girls? Yeah, that meant I couldn’t hold a conversation without my voice cracking from nerves.
So I had a plan to say something without too many words. I was going to go old school and make a mix tape for her since my conversations were very limited. “Oh man S, is going to so dig this! She’ll love that I shared this amazing band with her,” I thought to myself. The thing is, it was my 8th grade year in the early 2000s so cassettes weren’t the thing anymore. As such, I made her a mix CD.
Not just any mix CD though. A VAN HALEN mix CD.
All the classic Roth and Hagar love songs were there man, it didn’t matter that S was more of a Mariah Carey fan, I figured NOBODY could deny the mighty VH.
HAHAHAHAHAHAHAHAHA BOY WAS I WRONG.
Once I made the CD I approached her locker shaking like my apartment during an earthquake and the conversation went something like this.
Me: Hey… uh… hi S!
S: Oh hi D.
Me: So uhhhh…I really like Van Halen…and I…uh…(reaching into my backpack) made this CD for you.
S: Ok?
Me: Yeah…soooo…let me know what you think…k bye!
A day passed and I approached her again towards the end of the day. I figured “OK dude, this is it, you’re gonna find out how much she dug it!” Cue scene:
Me: So… how did you like Van Halen?
S: (nods slightly, forces a polite smile) Yeah… it was… pretty good.
Me: Cool! I, um, yeah cool see ya!
Later on I found out that she didn’t even listen to the damn thing. Friends of mine standing near the “popular group” heard that she didn’t even want the CD and tried to hand it over to guys in the group that liked metal. Major bummer.
But I wasn’t finished embarrassing myself hooooooooo boy I was just getting started.
The 8th grade year ended and I continued to make awkward conversation with S and left a couple of really geeky messages on her home answering machine (FUN FOR THE WHOLE FAMILY). On the last day of the end of the year I was risking my neck by wearing a Van Halen t-shirt (band shirts were banned by the fascists at my school). I wore it in rebellion of the fact that we were going to have to wear uniforms starting my freshman year of high school. That day I got her to sign my yearbook and she wrote, I’m paraphrasing more or less, “you’re awesome, never change <3 –S”
DUDE SHE PUT A HEART OMG.
You see I didn’t realize at the time that girls just do that sort of thing, so I figured I still had a chance. Anyways, I got made fun of quite a bit by the jocks for the whole Van Halen thing, but still liked S. Come freshman year I was a starter on the football team (still not a jock…just was a great lineman), and S had recently had her birthday.
Operation Van Halen part 2 was on.
This time I made a pastel artwork for her (I was a decent artist back then) and… also made another fucking mix CD. This time it was mixed with some more recent bands popular at the time, but still had Van Halen and also some solo Roth and Hagar as well.
Conversation follows here:
Me: So… I have something for you, wait here (I run into the athletic locker room and get the gift).
Me: (hands the artwork and CD over) Happy birthday S.
S: (stares blankly) Oh… you didn’t have to do that (gives awkward hug).
Me: (freaking out that she hugged me) Yeah…uh happy birthday, bye!
In the year that followed this solidified my place in the pantheon of stupidity as the hostility of the jocks increased since I continued to try to pursue a chick outside of my social standing. Eventually I gave up and moved on with my life. Van Halen became a running joke among the popular crowd (one jock grabbed my yearbook and wrote VAN HALEN SUCKS just for “lolz”).
Joke was on them though, I eventually became a really great guitarist (I’m sure Mike can testify to this) and performed frequently in front of the school. My senior year the leader of the worship band asked me to play this Steve Vai piece; I won 2nd place in the talent show for (most people thought I was robbed of 1st). Incidentally, I was placed right in front of S and her pals for the performance.
I wonder if she remembered those stupid CDs I made.
GETTING MORE TALE #656: The One They Call Dr. Feelgood
Hard rock peaked in the summer of 1989 with Dr. Feelgood. The charts were already filled with hard rock acts. Warrant were picking up steam. White Lion and Winger were getting airplay. Bon Jovi and Def Leppard were still raking it in with their last albums, New Jersey and Hysteria. Aerosmith were back. All we needed was the return of Motley Crue.
The Crue were not exactly laying low, but they did have problems to resolve. Nikki Sixx “died” of a heroin overdose on December 23 1987, but was revived with a shot of adrenaline right to the heart. Then he had to deal with a lawsuit from an imposter named Matthew Trippe, who claimed he took over the role of “Nikki Sixx” in 1983 and was owed royalties. Both these incidents inspired new songs. “Kickstart My Heart” was about by the overdose and subsequent recovery. “Say Yeah” took a shot at Matthew Trippe and that whole strange situation.
Fearing the band would end up dead if he did nothing, manager Doc McGhee sent the band into rehab (except for Mick Mars who quit drinking on his own accord). Then, a clean Motley Crue headed up to Little Mountain Sound in Vancouver to work with Bob Rock for the first time.
Bob Rock was on a roll. He finished up the soon-to-be-mega-successful Sonic Temple for The Cult and was recognized for the sound he was able to capture, particularly on the drums. He was also excellent at playing babysitter with musicians who were notoriously hard to work with. To minimize infighting, Rock split Motley up and had them all record separately. And because Aerosmith were in town recording Pump, Steven Tyler dropped by. He offered support for the newly clean band, and vocals on a new track called “Slice of Your Pie”.
The Crue’s first gig clean and sober was the Moscow Music Peace Festival in August of 1989. Although they had finished a new album, they played no new songs, saving them for proper release and promotion. Instead they played oldies from Girls, Girls, Girls, Theater of Pain, Shout at the Devil and Too Fast For Love. It was anything but peaceful. The gig, organized by McGhee, had been pitched to the bands involved as an equal opportunity. Bon Jovi, who McGhee also managed, were arguably the best known in Russia, as they were the only one with an official release there. They were booked to play last, but McGhee stressed there was no “headliner”. There was already friction between bands, because Ozzy Osbourne felt he should have been the headliner. Black Sabbath were massively popular with Russian rock fans, although they had to scour bootleg markets to find any.
Vince Neil live at the Moscow Music Peace Festival 08/12/1989 – Robert D. Tonsing/AP
Things came to a head when Bon Jovi featured pyro in their set, which none of the other bands had. Motley Crue interpreted this as favouritism towards Bon Jovi. Tommy Lee responded by ripping the shirt off Doc McGhee’s back. Motley Crue fired him and headed home on their own.
This drama did nothing to defuse Motley Crue’s momentum. Their new album Dr. Feelgood was released on September 1 1989, eventually going #1 and spawning five hit singles.
Meanwhile back in Canada, I was following all the Motley news with great anticipation. A Hit Parader magazine interview implied that Dr. Feelgood was so ambitious, it might even turn into a concept album. In fact the band had so many new songs that a second album, called Motley Crue: The Ballads was considered for 1990 release. The concept at that point was to do a new Motley Crue studio album that was all-heavy, no ballads. The softer songs would be saved for the second LP. Ultimately they got cold feet and realised putting out an album with no ballads in 1989 was commercially stupid, and so Dr. Feelgood was released with a mixture of tracks – the best 10 songs and one intro.
“Dr. Feelgood” was the first single, and it dominated airwaves just as summer holidays were ending. It, and “Love in an Elevator” by Aerosmith were absolutely everywhere. “Feelgood” had the edge with me, due to its massive drum sound and serious vibe. Bob Rock captured what might have been the biggest drum sound since Zeppelin, or Creatures of the Night by Kiss. Either way, Motley and Aerosmith really put Little Mountain Sound on the map as the studio to beat.
I tried to catch “Feelgood” on the radio and record it, but failed. Instead I bought the cassette single at the local Zellers store. Considering how many tracks the band worked up for Feelgood, I hoped they would be releasing non-album B-sides. They did not. Instead, “Feelgood” was backed by “Sticky Sweet”, probably the weakest album track.
I wondered what happened to all those unreleased songs that Hit Parader mentioned. “Say Yeah” was not on the album or singles. Neither were “Get It For Free” or “Rodeo”. (We’d have to wait another 10 years for them to be issued on the “Crucial Crue” remastered series.) A CD could hold almost 80 minutes of music, but Dr. Feelgood was the standard 45 minutes long. Since CDs were so expensive at the time, some fans argued “You have room, so put all the tracks on there and give us the value for our money.” Of course, this attitude changed later on, when listeners realised that albums with lots of extra filler were not as much fun to listen to. And, sadly, the unreleased Motley songs were pretty much filler. The stuff that went on Dr. Feelgood was as good as they had.
Dr. Feelgood was one of the first CDs I ever got, on Christmas Day 1989, along with my first CD player. The sonics of the album were everything they were hyped to be, but what really impressed me were the silences of compact disc. I was used to tape hiss. As “Time For Change” slowly faded out to nothing, I cranked the volume to 10. It was amazing to hear the fadeout clearly, without the tape hiss that had become part and parcel of music listening.
The album earned some great reviews for its sound, songs and even some of the lyrics. “Time For Change” revealed a new more mature direction. “Kickstart My Heart” took a serious subject and made it inspiring without wimping out. “When I get high, I get high on speed, top fuel funnycar’s a drug for me.” Some called it Motley’s best album, and still hold it as such.
As the album rocketed up the charts, Motley embarked on an 11 month tour. Most of the new album received live attention, with five songs being part of the regular set. One person who was paying attention to this was Metallica drummer Lars Ulrich. Lars fell hard for the Motley drum sound, and sought out Bob Rock to produce their next album too. The rest is history. Like Motley before them, Bob Rock helped push Metallica into the upper echelons.
On Monday June 18 1990, Motley Crue headlined at the SkyDome in Toronto. The following day, June 19, the highschool halls were flooded with Motley Crue T-shirts. Where were all these “fans” last year when I seemed to be about one of two people in school who liked Motley Crue? It was always so bizarre to see concert shirts on people who never expressed interest in the band. All those girls who always seemed to say, “I hate Montley Crue”!
What goes up, must come down. Motley relapsed after partying too hard with the Skid Row guys. Infighting ramped up. As the band were set and poised to top Dr. Feelgood with something truly special, they fired Vince Neil. It was as if they were handed the keys to the kingdom, to promptly throw them off the mountain. Although their 1994 album with John Corabi is a monster (and possibly their all-time best), as a commercial entity, Dr. Feelgood was never surpassed. It eventually sold over six million copies.
We’ll have to see how Motley portray it in their movie The Dirt, but the truth is that Dr. Feelgood was a one-off mega-success story they’d never repeat.
LEONARD NIMOY & WILLIAM SHATNER – Spaced Out! (1997 MCA)
Although William Shatner has enjoyed a slightly more high profile musical career, it was actually Leonard Nimoy who struck musical gold first! Nimoy’s debut solo album Mr. Spock’s Music from Outer Space beat Shatner’s The Transformed Man by a year, in 1967. Both records are considered novelties, yet were followed up by even more albums. Shatner’s last, Ponder the Mystery (2013) featured Steve Vai and Rick Wakeman among many others.
In 1997, the Space Channel assembled a fantastic greatest hits compilation of both Starfleet officers’ best. In 2017, Sir Aaron the Surprising sent me a sealed copy on a lark. It was meant to be a gag gift, but little did Aaron know I’d actually wanted this CD for a long time! After all, Shatner’s “Mr. Tambourine Man” has long been a hilariously bad favourite, and Nimoy’s “Ballad of Bilbo Baggins” truly is a hoot. Spaced Out! is a blast-off!
Shatner’s material tends to the so-bad-it’s-funny side of things. His spoken-word vocals definitely re-imagine many classic songs, including “Lucy in the Sky With Diamonds”. Nimoy, meanwhile, uses his baritone to sing charming ditties like “I Walk the Line” and “If I Was a Carpenter”. In character as Spock, “Highly Illogical” is highly fun. Nimoy also had a knack for ballads, and perhaps just missed out on a career as a crooner?
Less successful, Leonard goes country on “Ruby Don’t Take Your Love to Town”. He may have been able to play cowboys in movies, but playing one in music is much more difficult. Nimoy’s music leaned more to the mainstream, while Shatner’s was experimental, bombastic beat poetry to music. Sometimes it works, sometimes it doesn’t. “It Was A Very Good Year” is highly questionable.
Top Star Trek geek moment: Star Trek VI: The Undiscovered Country (1991) took its name from a line in Shakespear’s Hamlet (1602). In Shatner’s musical recording, “Hamlet”, he actually recites that line a couple decades before the movie was made.
Who would fardels bear To grunt and sweat under a weary life But that the dread of something after death The undiscovered country from whose bourn No traveler returns, puzzles the will And makes us rather bear those ills we have Than fly to others that we know not of?
Thus conscience does make cowards of us all; And thus the native hue of resolution Is sicklied o’er with the pale cast of thought And enterprises of great pitch and moment With this regard their currents turn awry And lose the name of action
For fans, it’s ultimately cool to have a copy of Shatner reciting those lines.
Let’s not deceive anyone, Spaced Out! is a novelty. You will chuckle and cringe more frequently than you will tap your toes to the music. Trekkies/Trekkers owe it to themselves to add this to the collection to expand their own universes.
MR. BIG – Big, Bigger, Biggest! The Best Of(1996 Atlantic)
The mid-90s were the time that every hard rock band in the world released a greatest hits. Why? Most of them either split, got dropped by the label, or both. Tesla, King’s X, Slaughter, Extreme, and Mr. Big are among the sidelined bands whose labels released a greatest hits mid-decade.
Big’s at least had four unreleased tracks, topping off 12 familiar cuts from their first four albums. Three of the songs were newly recorded. Unfortunately, the label stacked a bunch of ballads and made this disc really hard to finish in one sitting. The running order and track selection is a little wonky.
“Addicted to that Rush” is the jet-speed opener, as it should be. Big’s 1989 debut was instrumentally thrilling but light on hits. A so-so album track, “Rock & Roll Over” should probably have been left off. Lean Into It (1991) was the big one. “To Be With You” sits at track 4, because the CD is chronological, but the song has always worked better in the closing position. Placing it at track 4 is anticlimactic. Lean Into It spawned three more singles, all present: “Green Tinted Sixties Mind“, “Just Take My Heart”, and “Daddy, Brother, Lover, Little Boy”. This spurt of songs is a bit too soft. Two are ballads, one a pop track, leaving only one to instrumentally smoke you. That’s unfortunate because their cover of Cat Stevens’ “Wild World” is next in the pack. Though it is a fabulous and underappreciated cover, it’s too much mush at the start of the CD.
A buyer who picks this CD up as their first and only Mr. Big purchase will assume they are just another pop rock band. Another Bon Jovi, another Warrant. Though there are some serious moments of instrumental shreddery, that side of the band is too overlooked. “Colorado Bulldog” from 1993’s Bump Ahead is about the only remaining song with that kind of force. This is why suits shouldn’t compile CDs. Their studio albums are more balanced.
Unfortunately, none of the four unreleased songs are spectacular. The acoustic ballad “Seven Impossible Days” is from a Japanese EP called Japandemonium. The other three are new recordings. “Not One Night” is another acoustic ballad. Sonically beautiful, but it’s too much saccharine. “Unnatural” isn’t a ballad per se, but it is mostly acoustic (and features the lead vocals of guitarist Paul Gilbert). “Stay Together”, which is a dead ringer for vintage Van Hagar, is probably the best of these four songs.
Big, Bigger, Biggest! The Best Of Mr. Big does not represent the Mr. Big that fans have known all these years. Their favourite songs are rarely the ballads. Too many killer deep cuts are missing, and, I hate to sound like a broken record, there are too many ballads!
One Night in Nashville is John’s live run-through of the entire Motley Crue album with his ace band, including his son Ian on drums. Many of these songs have never been played live, and never in sequence like this. Veteran producer Michael Wagener ensured a kickass sound.
Ian Corabi has no problem duplicating Tommy Lee’s hard hitting style on opener “Power to the Music”. John’s voice is still more than capable of shredding these songs two decades later. His rasp and power have barely ebbed. Compare this to Motley Crue’s final live album The End and…actually, no don’t compare. Corabi buries The End.
“Uncle Jack” is one of the most pounding tracks on this CD. It was a departure for Motley Crue, a deadly serious track, and John nails every scream. The guitarist also duplicates Mick Mars’ underrated solo, note for note. Yes, underrated. Mars is rarely given the credit he deserves for creating his own style, and thereby defining the sound of the Crue.
If you know the album then you know these songs; if you don’t then buckle the fuck up.
Through the single “Hooligan’s Holiday”, Corabi and Co. breath life into songs we only know from the album. “Everybody wants a piece of the pie” — at least in this Nashville crowd they do, soaking up every riff and blistering scream. Even the complicated “Misunderstood” burns it down. Guitars instead of keyboards, backing band instead of Glenn Hughes, and it’s full speed ahead. Once again the solo is note for note, but there’s a brand new outro where it once faded.
“Loveshine” is a bit of a respite, a nice little acoustic jam a-la Zeppelin III. These last two songs are so far above and beyond what Motley Crue were capable of when Vince Neil was in the band. Corabi opened up entire new soundscapes for them to explore, and “Loveshine” is cool on the psychedelic side. Back to the rock, “Poison Apples” is a tribute to glam rock and what Motley Crue are about. “Took a Greyhound bus down to Heartattack and Vine, with a fist full o’ dreams n’ dimes…” Of all the tracks on Motley Crue, “Poison Apples” was the closest to the original Motley sound, and John owns it.
This is where you’d flip sides on the original album, so it’s the perfect spot for telling a story: track 7, “John Joins the Band”. He got the call before it was even announced that Vince had left the band, and he couldn’t say a word to anybody. One of the first songs they wrote together was “Hammered”, an old riff that John brought to the band. Even darker is “Til Death Do Us Part” which was actually supposed to be the title of the album at one point. It’s one of many long bombers, but things lighten up a bit on “Welcome to the Numb”. Dig that slide guitar riff, another very Zep aspect to this batch of songs. By John’s intro, it sounds like a ball-baster of a song to play live. He says they didn’t think they were going to be able to do it! But they killed it, and John says that’s due to the hard work of guitarist Jeremy Asbrock.
Your head receives a good solid smack with “Smoke the Sky”, a waste-laying blitzkrieg of a smokeshow. Corabi touts the health benefits of rolling a joint. “Home grown version complements the senses, opens up my mind.” Perhaps Peter Tosh put it better, when he sang “Birds eat it,” and “It’s good for the flu, it’s good for the asthma.” Regardless of who said it best, “Smoke the Sky” is a flat-out mosh.
“Droppin’ Like Flies” continues the ass-kicking, but at a more sensible pace, trading speed for mass. And although in theory it shouldn’t work, after this fairly relentless assault, the album always closes on a ballad called “Driftaway”. After a sentimental version for the Nashville crowd, there’s a bonus track. This is another ballad, “10,000 Miles Away” from the Japanese Quaternary EP, live for the first time. Icing, meet cake.
This Corabi live album is far stronger than any of the three Motley Crue live albums. In terms of performance, John’s band just kills Motley Crue. Of course, they had a brilliant set to work with. Finally hearing these songs live, and in album context, is a long fulfilled wish. John Corabi has long been respected by the rock community and this CD is a testament to why.
The featured photo for this week’s Sunday Chuckle was sent to us by Boppin, who thought these “woods wipes” would be perfect for Sausagefest. The funny this is that we actually have a Bucky at Sausagefest.
Bucky commented, “Copyright infringement right here. I sell my actual shit under the same branding. Don’t judge, we all got stuff on the side.”
ALICE COOPER – The Sound of A (2018 Ear Music EP)
mikeladano.com 