Reviews

REVIEW: Y&T – Ultimate Collection (2001)

Y&T – Ultimate Collection (Universal)

When Tim Durling, author of Down For the Count: The Y&T Album Review, found out I didn’t own any Y&T, he sought to rectify the situation.  As a passionate and knowledgeable fan, he knew that I wanted to start with a good compilation that covered all the songs I liked, and as many albums as possible.  The Ultimate Collection was the CD he vouched for, and he did not steer me wrong.  This is an amazing compilation.

The disc opens with four songs from Earthshaker, their first album as Y&T after two records as Yesterday & Today.  “Dirty Girl” is an unusual if brilliant opener.  It’s both slow and heavy, with a couple genius guitar solos, one different from the other, and each telling a story.  This track plods in the best possible way, with a cool signature riff and a stomping beat.  The chunky “Hurricane” and an epic “Rescue Me” follow, but “I Believe In You” is a real standout from Earthshaker.  This is a powerful metal ballad, like something the Scopions used to score hits with.  Dave Meniketti has expert control of his voice, with a vibrato to die for.

A clutch of songs from Black Tiger (produced by Max Norman) follows.  The title track from that album fades in from ominous jungle sounds (because tigers usually live in the jungle).  “Cat eyes!  She draws you in!”  Dave is singing about a different kind of jungle here.  The black tiger he’s singing about is of the feminine variety, and Dave wants you to heed his warning.  “She’s playing for keeps, so you better get away!”  Just a smoking metal track with stinging guitars.  “Open Fire” is just as heavy, if a bit faster.  These two songs boast hooks, both on guitar and vocals.  Y&T are experts at this high-velocity rock, but “Forever” could fool you into thinking it’s another ballad…until it storms off, bordering on thrash metal.  “Forever” definitely competes with the kind of heavy rock bands that were starting to make a name for themselves in the early 80s.  Leonard Haze pushes it over the top with his adrenalized drumming.

Chris Tsangarides took over production duties on Mean Streak.  We only get two heavy hitters, including the title track “Mean Streach”.  (That’s a joke – listen to the chorus.)  “Midnight In Tokyo” is the other, and by contrast, this song isn’t as simple or straight ahead.  Complex, jazzy verses collide with melodically heavy choruses.  Phil Kennemore must be credited for some really incredible, gallopy and melodic bass playing.

In Rock We Trust was produced by Tom Allom of Judas Priest fame.  We only get one track from this record, the big hit “Don’t Stop Runnin'”.   This one is especially notable for the backing vocals.  The band probably don’t get enough credit for that, and the thick and sweet chorus is all band.   Though I did see this music video on Toronto Rocks and the Pepsi Power Hour once or twice, it should have been a lot bigger.  This band had a number of circumstances against then, as discussed in Tim Durling’s book, available on Amazon.

The next couple studio albums were produced by Kevin Beamish.  Some may love, and some may hate, the direction this band evolved on Down for the Count and Contagious.  If the songs chosen here are any indication, the band were going for a more radio-oriented mid-80s mainstream sound.  They still managed to pack punch into the songs, but “Summertime Girls” and “Contagious” are notable more streamlined and polished.  The melodies and backing vocals take more prominent positions, and keyboards enter the fray.  I think these tracks are great.  They are among my childhood favourites.  I love the backwards-recorded drum parts on “Summertime Girls”.

A live track from Open Fire provides some much-needed music from the first Yesterday & Today album, which was on London Records and unavailable for this compilation.  Wicked riff from Joey Alves on “25 Hours A Day”!  Note the backing vocals once again.  Whether they were polished in the studio, it doesn’t matter.  The band can sing.  This fun rock groove has a little more power than the studio version.  Nice bass solo from Phil!

The end, temporarily, was 1990’s album Ten produced by Mike Stone.  The ballad “Don’t Be Afraid of the Dark” turned me off back in the day.  It was too soft for the direction I was headed.  Judas Priest was dropping “Painkiller” while Y&T released a ballad.  It just wasn’t what I wanted.  I should have given Ten a chance.  I love this song now.  Though the lineup had changed, and Journey’s Steve Smith was playing drums in the studio, it still sounds like Y&T.  Those melodies and backing vocals!  That “touch by touch, little by little!” hook just knocks me out, not to mention Meniketti’s voice and delivery.

Y&T came back in 1995, retaining Stef Burns and Jimmy DeGrasso from the last incarnation.  Musically Incorrect was the name of the album, and “I’m Lost” is an absolute smoker!  You’d think it came from one of the earlier albums…because it does.  It was originally on Struck Down and re-recorded here.  It’s one of the fastest songs on the compilation, and the raw 9o’s production gives it a vintage sound.  It’s challenging stuff.  DeGrasso absolutely smokes on the drums.  No wonder he ended up in Megadeth a bit later on.  The same lineup remained on Endangered Species in 1997.  A heavy ballad called “God Only Knows” represents that album.  It’s passionate metal, with the kind of wrought-iron arrangement you expect from a power ballad.  Absolutely killer lead solo work.

The final track takes us back to the beginning.  A live version of “Beautiful Dreamer” from 1991 is originally from the debut Yesterday & Today.  Again, it’s a little more complex, but still boasting the kind of melodies, riffs and singing that we expect from Y&T.  That is, high quality heavy rock.

This is easily the best first-purchase Y&T you can make.  It’s a great sampling of as much music as you can reasonably expect.  Solid listen front to back, and then back to front.  Liner notes are by the late Gerri Miller of Metal Edge magazine.

5/5 stars

 

 

 

REVIEW: Mötley Crüe – “Beauty” (1997 promo single with “Audio Bio”)

MÖTLEY CRÜE – “Beauty” (1997 Elektra promo single)

Generation Swine was a weird album, and “Beauty” was a weird single. Just the facts.

Swine was a “reunion” album with Vince Neil, yet there are several songs with other members singing lead. Not the usual thing to do for a reunion album with your original lead singer!  “Beauty” was one of the songs with multiple singers:  Tommy Lee is credited for “Beauty and Head vocals”.  Not only that, but Vince doesn’t sound like Vince, singing the verses in a low register.  It was definitely an odd choice as the second single, when fans were expecting a return to the 80s.  Not happening here!  Produced by Scott Humphrey, Generation Swine dipped its toes into techno, with “Beauty” being one track that sounds nothing like Motley Crue.

Promo singles are usually not worth buying.  They are strictly for collectors now who have to have everything.  This one, however, might be of wider interest.

Track 1 is just the album version of “Beauty”.  Vince sings the verses in that low voice, but the samples and drum loops are more disorienting.  They were going for a more urban groove here, with mixed results.  The lyrics, referencing prostitution, are apparently about Hugh Grant.  “She got me thrown in jail, my black beauty, she’s still up for sale.”  Motley Crue had the balls to put Hugh Grant’s mugshot on the CD, which makes it immediately interesting enough to be collectible.

Track 2 is perhaps more interesting.  This “Audio Bio” features some pretty crazy quotes.  From Rolling Stone:  “The perfect union of ZZ Top celebration, and Nine Inch Nails self-immolation!”  From Billboard:  “There’s no denying the chemistry between Vince Neil and bandmates Tommy Lee, Nikki Sixx and Mick Mars.”  What??  What chemistry?  Did you even listen to the album?  MTV calls the album impressive, and Guitar World simply said “fuck yeah!”  It’s really hilarious with hindsight.  It also exposes these magazines for the hacks they often are.  Not really listening, just writing what they’re told.

Give it a listen for yourself.

No point rating a promo out of five.  Score one in the wild if you can, for the Hugh Grant mugshot and the unintentionally hilarious bio.

 

REVIEW: Tuff – What Comes Around Goes Around (1991)

TUFF – What Comes Around Goes Around (1991 Atlantic)

This is going to be a little different for my style of review.  I’m not going in deep, researching the players, the singles, the writers and the releases.  This time I’m just listening to the songs and spitting out my words.  You’ll see why.

I do like that Tuff has one member who looks like a Ramone (or Nikki Sixx), one guy who looks like he’s in Britny Fox, and a miniature Bret Michaels in the band.

Will someone please tell us what a “Ruck A Pit Bridge”?  The song is pretty good.  It’s generic and could be Warrant, but they wrote a decent song with decent playing here.  The singer lacks any kind of identity.  You could plug any singer into this…until the funk section, which horribly dates the song to 1991.  Literally every band was trying this rap/rock/funk hybrid.

I groaned at the title “The All New Generation”.  Really?  And cowbell too.  It’s their version of “Rocket” by Def Leppard lyrically, name-dropping names and even little bits of songs (“Girls Girls Girls”).  They even quote the “Oh my God!” line from Van Halen’s “Hot For Teacher”.  This is really bad.  Musically it’s fine, but the shout-rock chorus is probably overdone.  Best thing about this band seems to be the guitar player.  I guess someone needed a song about 80s hair metal bands, Van Halen and Aerosmith, but I didn’t.  It didn’t help the rock situation at the time, just made it sound more like a joke, especially since they’re also toasting Bon Jovi, Skid Row and GN’R in an era when  they were not yet legends.

Time for a ballad!  Break out the acoustic guitars!  “I Hate Kissing You Good-Bye” is the Mr. Skid Big Extreme ballad of the album.  If you combined those bands, put them in a blender, you’d get “Kissing You Good-Bye”.  It actually sounds a little bit like Sven Gali from the Great White North, but with more maple syrup on top.  The singer has a decent rasp but that’s about all he has going for him.  And when he name-drops “American Pie”, I barfed a little.

“Lonely Lucy” has one of those riffs we’ve heard a million times.  It sounds like cookie-cutter music.  Nothing here of any quality.  Echoey, vacuous cock-twirling.

Side one closer “Ain’t Worth A Dime” reminds me that this album is way overpriced online.  Seriously though, I enjoyed the drums.  The drum part is cool.  The song itself is no good and a big part of that is that the singer is so bland.  At least the guitarist shreds.

On side two, we finally get a good song!  “So Many Seasons” is similar to “Edge of Broken Heart” by Bon Jovi, a mid-tempo rock ballad.  It loses what makes it special as soon as the singer opens his mouth, but at least Tuff wrote a good song here.  It’s a little too similar to Bon Jovi, but we’ll let it slide because hey, we should be a little kind here.  Good song.  Good choruses.  A keeper!  Would love to hear another band cover it!

“Forever Yours” had a good riff to it.  Sounds a bit Skid Row, a little familiar, but then the kiddie-chorus comes in, and it’s so corny.  Tuff fans will accuse me of listening with my Rush T-shirt, but there’s something just too sickly sweet about this chorus, especially the overdubbed keys and backing vocals.

Time for another acoustic ballad, and “Wake Me Up” sounds like faux-country, with contrived piano overdubs for extra that panache.  They mentioned Aerosmith earlier.  Well, this is their attempt to write an Aero-ballad, but without the skillz of Tyler, Perry, or their assorted song doctors.  There’s also hints of Skid Row, Ozzy, and others who hit the charts with ballads.  OK song, but absolutely nothing unique or special about it.  Sweet sweet love, loneliness, promises, and being unable to change yesterday.  Heard it all before.

“Spit Like This” is OK.  Lots of guitar pyrotechnics, but not enough song.  It tries to incorporate light/hard dynamics, but it’s uncompelling.

“Good Guys Wear Black” is an ample closer, with the singer acting all tough.  A few years later, Bon Jovi would write a song called “Good Guys Don’t Always Wear White”, but it would be a stretch to say Jon ripped off Tuff.  This is a completely different song.  Very Skid Row, with Motley Crue “shout” vocals.

OK album.  Just OK.  Too many “HUAH’s!” in the vocals.

2/5 stars

Fun fact:  Bassist Todd Chase is the brother of Badlands’ Greg Chaisson.  He left after this debut.

 

 

 

A1 Ruck A Pit Bridge 3:44
A2 The All New Generation 3:38
A3 I Hate Kissing You Good-Bye 4:19
A4 Lonely Lucy 3:04
A5 Ain’t Worth A Dime 3:07
B1 So Many Seasons 4:12
B2 Forever Yours 3:04
B3 Wake Me Up 4:17
B4 Spit Like This 3:37
B5 Good Guys Wear Black 4:17

REVIEW: Kick Axe – “Piece of the Rock” / 2005 remaster of Rock the World (1986)

Part Six-point-five of a series on KICK AXE!
Thank you to JEX RUSSELL for donating this to the collection.

KICK AXE – “Piece of the Rock” (from Rock the World – 2005 remaster) (2005 Amber Interactive)

The Kick Axe discography, though small, is difficult to complete!  There are the first two albums released on Pasha in the US, and the third album on Roadrunner in the US.  Rock Candy reissued the first two albums with bonus tracks, and the third without, so they’re fairly easy to get.  Then we also have a fourth independent album, an early independent single, a live track released by Playboy, and two songs on the original 1986 Transformers soundtrack (under a different name).  That’s about it, right?

Nope!

One important song almost slipped through the cracks.  When Kick Axe were working on Vices with Spencer Proffer, the producer was considering using the band to help write the next Black Sabbath album.  Additionally, Ian Gillan was out of the band, and they needed a singer.  Kick Axe’s George Criston was one of the singers considered, though Kick Axe didn’t want to lose their main man.  “Piece of the Rock” was one of the songs written for the Sabbath project.  Though Sabbath didn’t use it, like “Hunger”, it was recorded and released by King Kobra on their debut Ready to Strike.  As a result, the Kick Axe version went unheard for almost two decades.

That version, harder than King Kobra’s, is actually available on an obscure Kick Axe remaster that pre-dates the Rock Candy versions.  Strangely enough, it ended up on a reissue of Rock the World, an album it had nothing to do with.

The plot thickens.  Rock the World was remastered by Kick Axe’s Ray Harvey…who was not in the band when it was recorded, and is not on the album aside from the bonus track!

Kick Axe Career Retrospective

Things get crazier still – and this is something that isn’t documented anywhere, even on Discogs.  Upon listening, some songs are actually longer!  “Rock the World”, for example, opens with two seconds of pick-handling that is not on the original album.  The Fleetwood Mac cover “The Chain” has a much longer intro (almost double its original length), with a short section restored.    “Red Line” is also significantly longer.  Considering the Rock Candy release has no bonus tracks, this version might reign superior.  Ray Harvey clearly decided to re-edit some of these tunes as well as remaster.  There does not seem to be a remix.  The remastering isn’t as loud as the Rock Candy version, though it still sounds fabulous.

Where Rock Candy exceeds is in liner notes and packaging.  The Amber Interactive version doesn’t have the original artwork, and actually looks really cringe!  The back cover is a computer generated sword handle with a metal “X”.  Need I remind you, an axe is not a sword!  The front cover artwork is atrocious, even compared to the low budget looking original.  It does have the lyrics to “We Still Remember”, which is interesting in itself.  See how many references to other bands you can find.  “In the days of the haze, the colour was deep purple.”  “We ride the killing machine.”  “And the wind it cries Mary.”  “We won’t get fooled by helter skelter.”  References within references.

“Piece of the Rock” should have been released by Kick Axe back in the day, but here it stands on an album!  It sounds completely finished for release, with the lush backing vocals fully overdubbed and ready for radio.  The other nice thing is that it gives you an old school Kick Axe song on an album that was largely more complex and less instantly accessible.  That’s not to say that Rock the World is weak album.  Our review will attest to that (links at bottom).

This version of Rock the World deserves an extra half-point for the bonus track and lengthier versions of existing songs.  Extra unadvertised value is always good.  Shame they couldn’t use the original art (licensing issues), but small gripe.

4.5/5

Part One:  “Reality is the Nightmare”
Part Two:  “Weekend Ride”
Record Store Tales #773:  Rock Candy + Internet = Kick Axe!
Part Three:  Vices
Part Four:  The Transformers soundtrack (as Spectre General)
Part Five:  Welcome to the Club
Part Six:  Rock the World
Part Six-point-five:  “Piece of the Rock”
Part Seven:  IV
Part Eight: Career Retrospective on Grant’s Rock Warehaus
Part Nine: new album!

 

REVIEW: Deep Purple – “Portable Door” (2024 single from new album =1)

DEEP PURPLE – “Portable Door” (2024 EARmusic)

Deep Purple’s first new album with Simon McBride on guitar will be out July 19.  Called =1 (“equals one”), it is largely a mystery what the album will sound like.  Many predicted a return to “hard rock” after the last three more progressive albums.  The first single “Portable Door” is not all that different from the Steve Morse era.  Don Airey’s organ really dominates the solo section, as it should be.  Simon’s guitar work is sublime but not showcased as some had hoped.  He has this one cool lick in the riff that is really electrifying, but we want more Simon!

Ian Gillan? Reliable as ever, his voice has worn in like suede. He can still sing the hooks.  Haters call him “over and done” – fans don’t care. Ian Paice is the backbone, always smooth, always identifiable, infallible. With Ian Paice on drums, Deep Purple will always sound like Deep Purple. His work here is busier than the we’ve become used to…which is just fine!

How does “Portable Door” stack up against recent Purple singles?  It doesn’t have that instant “wham!” of “Vincent Price”, and it doesn’t have the hooks of “Johnny’s Band”.  It’s a strong, workmanlike latter day Deep Purple single that will grow with increasing listens.

Let’s just hope for more Simon next time.

4/5 stars

VIDEO: Work in Progress demo: Audi RS Q e-tron Lego Technic 42160

Back into Lego for a little over a year now, I wanted to challenge myself. I wanted to do something with gears, the more complex the better. Ideally I wanted something motorized. The Lego Audi was an affordable option.

Powered by three motors and six AA batteries, the motorized parts these days are quite different from my time.  I recall having a giant Lego brick that you could turn into a tank, which was handy since that’s how it was shaped.

Building a set like this is a process of discovery.  You’re not sure what exactly you’re doing at first, until things comes together.  The front end, with two motors, came first.  One motor is dedicated to the rack and pinion steering.  There are a pair of nice heavy shocks for the front suspension.  The rear end has another pair of shocks, and a bluetooth power box that syncs up to a phone app.

The controls are simple and even have brakes.  These might come in handy if racing indoors!

Just wish the car was a little faster.

5/5 stars

 

REVIEW: Gene Simmons – The Vault (2018) Final Score, Best Tracks, Worst Tracks & Summary

Previous Reading: 

Record Store Tales #600:  The Vault
Disk 1 Review
Disk 2 Review
Disk 3 Review
Disk 4 Review
Disk 5 Review
Disk 6 Review
Disk 7 Review
Disk 8 Review
Disk 9 Review
Disk 10 Review
Bonus Disk Review

 

 

 

 

 

 

What are the best tracks of the 165 included?  What about the “action figure” and coin?  What’s the final score?

GENE SIMMONS – The Vault (2018) Final Score

Part One:  The Best Songs

Every song that was scored 4/5 or higher is listed below, in disc order.

Disk 1

    • “Are You Ready”   5/5
    • “I Confess”  4/5
    • “Legends Never Die”  4/5
    • “In My Head”  4/5
    • “I Wait” 4/5

Disk 2

    • “Hate”  4/5
    • “Within”   4/5
    • “In Your Face with Ace”   5/5
    • “I Wanna Live”  4/5
    • “If It’s Too Hot, You’re Too Cold”  4/5
    • “Rain Keeps Fallin’”   4/5
    • “Bells of Freedom”   4/5

Disk 3

    • “Christine Sixteen”  5/5
    • “Tunnel of Love”   5/5
    • “Got Love For Sale”  4.5/5
    • “Hell Or High Water”  4/5
    • “Domino”  4/5
    • “Only You”  5/5
    • “True Confessions #2”  4/5

Disk 4

    • “Plaster Caster”  4/5
    • “X-Ray Eyes”  4/5
    • “Charisma”  5/5
    • “Radioactive”  4.5/5
    • “Calling Dr. Love”   4/5
    • “It’s My Life”  5/5

Disk 5

    • “See You Tonite”   4/5
    •  “Once More Chance”   4/5

Disk 6

    • “Whatever Turns You On”  4/5
    • “Hold On”   4/5

Disk 7

    • “Suspicious”  4/5
    • “Everybody Wants”  4/5
    • “Promise The Moon”   5/5
    • “Pride”  5/5
    • “Mirage”  4/5

Disk 8

    • “We Rocked It All Night”  4/5
    • “She’s Rotten to the Core”  4/5
    • “S&M Love”  4/5
    • “Bad Bad Lovin’”   4.5/5
    • “Chrome Heart”  4/5

Disk 9

    • “It’s Gonna Be Alright #2”  4/5
    • “Everybody Knows #1”  4/5
    • “You’re All That I Want”   4/5
    • “Damn, I’m Good”   4.5/5

Disk 10

(none)

Disk 11

    • “Obnoxious”  4/5
    • “Just Begun to Fight”  4.5/5
    • “Dorothy Lamour”  4/5
    • “My Uncle Is A Raft”  4/5

Part Two:  The Worst Songs

Because there are so many songs in the two star range, every song score under 2/5 is list here in track order.

Disk 1

    • “Something Wicked This Way Comes”  1/5

Disk 2

(none)

Disk 3

(none)

Disk 4

(none)

Disk 5

    • “Dreamer”   1/5

Disk 6

    • “Beautiful”   1/5
    •  “I Dream 1000 Dreams”  1/5
    • “First Love”   1/5

Disk 7

    • “Dog”  1.5/5
    • “Never Gonna Leave You #1”  1/5
    • “I Ain’t Comin’ Back”   1.5/5

Disk 8

(none)

Disk 9

(none)

Disk 10

    • “Granny Takes A Trip”  1/5

Bonus Disk

    • “Feel Like Heaven   1.5/5
    • “It’s Funny, But It Ain’t No Joke”   1/5
    • “Love By Invitation”    1.5/5
    • “Queen of Hearts”   0.5/5
    • “Leeta”   1.5/5
    • “Put on Your Slippers”  1.5/5
    • “Nancy”   1/5

Part Three:  Action Figure, Coin, and Book

The much-ballyhooed Gene Simmons “action figure” is…a statue.  It’s a very nice statue, but there are no moving parts.  You can’t pose Gene with your other Kiss action figures.  Even the MacFarlanes were slightly poseable.  It’s quite large and heavy.  Very solid.  Though mine is sealed and hard to examine up close, You can see the sculpt is excellent.  It’s a very high-end likeness.  The paint details on the face appear to be quite nice, and you can even see a silver zipper going up Gene’s black leather jacket.

The coin is just a hunk of metal.  Drill a hole in it and hang it around your neck for fun.

The book is loaded with info, but not as much as you’d like.  Gene sometimes repeats stories, especially when it comes to Ace Frehley and Peter Criss misbehavin’.  Though Gene usually tries to highlight who is playing on which songs, it’s not always clear.  In some cases this information is lost, but it would nice to see credit breakdowns in the notes.  It’s loaded with sketches, lyrics, unreleased photos, and other assorted curiosities.

Though heavy, and housing all 11 discs within, the book does feel flimsy along the spine.  It is also a dust magnet.  It is a shame it didn’t come with some kind of slipcase.  Fans are going to have to improvise their own storage methods.  I’ll probably put mine inside a tote bag.  It is also a shame that the CDs themselves slip in and out of cardboard sleeves, but that was expected.

Part Four:  Average Score

This isn’t to say there isn’t a lot of filler on the Vault.  It only looks like there isn’t because I chose to list songs under two stars only.  There are simply too many 2 star songs.  It would get tedious.  However, there is a surprising amount of good stuff on this set too, and otherwise perfectly listenable tracks.  “Mongoloid Man” may be offensive, but it does rock.

One cannot overstate the importance of finally have the three historic Van Halen recordings.  This is something that never seemed particularly likely until the Vault.  Other demos of value include “Only You” and the Bob Dylan sessions.  There is clearly enough good material here to justify buying.  The amount of repeat songs under different titles is irritating, but that’s how Gene writes.  He re-uses ideas until they either make an album, or don’t!  For better or for worse, you’re getting a lot of those unreleased tapes right here.  Most of them involve material for his two solo albums.

Let’s face it:  Kiss die-hards want these collectible demos, for a number of reason.  One is that we’ve been reading about some of these song titles for decades.  Second is that many of them feature Kiss members in addition to Gene, such as Eric Singer, Eric Carr, Tommy Thayer, Bruce Kulick, Ace Frehley and Paul Stanley.  They also include almost-members such as Bob Kulick and Anton Fig.  For all intents and purposes, many of these tracks can be considered Kiss demos, released under the Gene Simmons name.

The disc with the best score was Disk 3 at 3.83/5, with its Van Halen demos elevating it.  The lowest scoring disc was Bonus Disk at 2.16/5.

The average score for all 11 discs:

3.04/5 stars

However, here’s something important to note.  The final score doesn’t matter.  Not at all.  Gene Simmons throws everything at the wall.  He writes, and he re-writes, and he keeps going until he has 165 songs jammed onto a box set.  The value here isn’t simple.  It’s not something you can break down into numbers.  The joy of hearing Eddie Van Halen doing whammy dives on “Tunnel of Love” cannot be quantified.  The value of certain demos like “Only You” overshines mere numbers.  This box set’s value will continue to pay musical dividends as we listen and listen again for years to come.

Thanks for joining us for this journey through the Vault!

 

 

REVIEW: Gene Simmons – The Vault – Bonus Disk (Disk 11) (2018)

Previous Reading: 

Record Store Tales #600:  The Vault
Disk 1 Review
Disk 2 Review
Disk 3 Review
Disk 4 Review
Disk 5 Review
Disk 6 Review
Disk 7 Review
Disk 8 Review
Disk 9 Review
Disk 10 Review

 

 

 

 

 

 

For those keeping score at home, this bonus CD contains tracks 151-165 in the Vault box set, 15 more than originally promised!

GENE SIMMONS – The Vault – Bonus Disk (Disk 11) (2018 Rhino)

As Gene notes in the book, there are many different versions of “Feel Like Heaven”…the most notorious of which is not on this box set.  The “Vulgar Version” as we’ll call it is still just a bootleg.  If you don’t know what it is, don’t ask.  This demo of “Feel Like Heaven” is the most primitive, with Gene singing and playing bass over the sound of a vintage drum machine.  This song is getting a bit repetitive, but this version definitely belongs only on a bonus disc.  1.5/5

“Obnoxious” is a surprise.  It has a punky quality, but it also shares a chorus with “Reputation” which is an unreleased Kiss song from the 70s.  “Obnoxious” is pretty good, daresay I prefer it to “Reputation”.  The low-fi arrangement of bass and harmony vocals, with minimal guitar and no drums is really cool.   Clearly it wasn’t intended to be released as-is, but I wouldn’t really change much.  It sounds like Kiss.  Sometimes things are best left primitive.  Who knows?  4/5

Remember when the Kiss 40 compilations came out?  They featured a brand new Kiss song called “Samurai Son”, featuring a Japanese girl group called Momoiro Clover Z.  Although Kiss praised them at the time of the compilation album, in the liner notes here, Gene called them “basically dancers”.  Ouch!  Gene’s song submitted for the Kiss 40 compilation was “Mina-San, Mina-San”.  Though ultimately, “Samurai Son” works better, “Mina-San, Mina-San” has a vintage Kiss vibe that the other song lacks.  Really, the only thing wrong with this version is that Gene had to do all the vocals himself including the female backing vocals.  So, it’s not perfect, it’s a little cringe when the backing vocals come in.  Again, this is a demo – for demonstration!  The song was not chosen and therefore never properly finished.  3/5

“Just Begun to Fight” is a title long mentioned in collector’s circles.  Unbelievably, it’s really good.  Gene notes it uses the same chords as “Dr. Love”, which is something that comes up frequently in this box set.  The chorus shares commonality with “Burning Up With Fever”.  Strangely, this might be the best use of them!  “Just Begun to Fight” is vintage Kiss.  Slow, powerful groove and a killer upbeat chorus.  You can hear where Ace Frehley would lay down his solo.  Gene recorded this song in 1978 with forgotten studio musicians.  I would have liked to hear this song finished.  Solid!  4.5/5

“It’s Funny, But It Ain’t No Joke” sounds like a low quality early 80s Kiss song.  It’s fast and is fully written with lyrics and backing vocals, but it ain’t no good.  Pun intended.  There’s a pretty dreadful bridge to enjoy, and a caveman guitar solo to burn your ears out.  1/5

The song “Love By Invitation” was entirely written around one jazz chord that Gene liked.  That chord repeats a lot.  Gene doesn’t think this song was ever presented to Kiss.  It doesn’t matter.  Same results.  Sounds like Unmasked era.  Cool sax solo at least.  1.5/5

“Dorothy Lamour” also goes back to the Unmasked era, with Anton Fig on drums and Holly Knight on keyboards.  This has an oldies rock and roll feel, but heavier.  It has that 1950s sound with the bopping piano.  Anton provides a solid backbeat.  You can instantly hear a huge rise in quality over the previous drum parts on this disc.  This doesn’t sound at all like a demo.  This sounds like a finished album track with a great chorus accentuated by backing vocals.  A song like this could have worked with Kiss, had they wanted to go back to that sound.  Reminds me a bit of a toned-down “Bloody Luxury” by Whitesnake.  4/5

“Queen of Hearts” is not the Hot in the Shade song.  This is a keyboard demo written with Pepy Castro around the time of Unmasked.  It is truly dreadful, sounding like a lullaby for your nightmares.  If it were a song by Jan Terri, it would be her best track, but it could be Gene’s worst.  0.5/5

Written in 1966, but recorded in 1980, “My Lorraine” is…something.  Gene strums some pretty chords on acoustic and then breaks into a bad falsetto.  For the second verse, he goes back to his normal voice.  It’s a fine little folky song, but easily and justifiably forgotten.  2/5

“Leeta” is marginally better.  This bad Beatles-y ballad was previously released on the Kiss Box Set.  This old recording by Gene’s band Bullfrog Bheer reveals that Simmons had diverse tastes, but really hadn’t decided what he wanted to do.  He was, and still is, willing to throw anything at the wall and see what sticks.  However, if “Leeta” was a Beatles song, they would have given it to Ringo.  1.5/5

“Put on Your Slippers” originates in 1969, and Gene talks of the “folly of youth” in the liner notes.  He wanted to be like Paul McCartney, and write and play all the instruments himself.  He describes “Put on Your Slippers” as inspired by the Beatles’ “She Came In Through the Bathroom Window”.  See above note about Ringo.  1.5/5

 

Back to 1978, drum machines and keyboards!  “Gypsy Nights” is so corny it’s hilarious!  It sounds like an AM radio song from the era.  It is fine, up until the bridge, which is just from another song altogether.  The smooth guitar solo is nice, but…wow.  Just wow.  2/5

Back in 1987 on the Kiss eXposed video, Paul Stanley teased Gene about writing songs such as “I Love Eskimos”.  Gene responded by saying, “That’s not too far off.”  And here we have “Eskimo Sun”…also known as “Only You!”  The melody is familiar, but the song is otherwise very different, and not very good.  It’s interesting to finally hear the “Eskimo” song that Paul was joking about, and it’s fascinating that it’s actually “Only You”, but wow, this is really not enjoyable listening.  2/5

Mercifully coming closer to the end, “Nancy” is another Bullfrog Bheer song.  You can imagine Gene writing this stuff, taking it so seriously, thinking he is the McCartney of the next generation.  Meanwhile, the song he wrote is utter crap.  1/5

And finally, written for Gene’s late uncle George comes one of the most surprising songs of all.  “My Uncle Is A Raft” goes back to the 10th grade, performed with friends.  It’s a delightful little folky jig that sounds like something from the 1930s.  It’s hard to say it’s a great song, because part of its appeal is its low-fi authenticity which lends of a comedic vintage quality.  It ain’t bad though.  The “yee-haw!” in the middle of the song says it all.  This is an upbeat little number that sounds like it’s from another era entirely.  Fascinating and delightful.  4/5

What a weird disc this was!

Average score by song:   2.16/5 stars, the lowest of the set.

Next time, we will sum up the box set and look at the extras.  The Vault isn’t finished yet.

Bonus Disk 11 Track length and songwriters (from Wikipedia)

1. Feel Like Heaven (3:07) Simmons
2. Obnoxious (2:37) Simmons
3. Mina’San, Mina’San (2:13) Simmons
4. Just Begun to Fight (3:27) Simmons
5. It’s Funny, But It Ain’t No Joke (2:32) Simmons
6. Love by Invitation (3:21) Simmons
7. Dorothy Lamour (2:31) Simmons
8. Queen of Hearts (3:14) Simmons / Castro
9. My Lorraine (1:58) Simmons
10. Leeta (2:25) Simmons
11. Put on Your Slippers (2:24) Simmons
12. Gypsy Nights (2:55) Simmons
13. Eskimo Sun (3:08) Simmons
14. Nancy (1:27) Simmons
15. My Uncle Is a Raft (1:16) Simmons

REVIEW: Gene Simmons – The Vault – Disk 10 (2018)

Previous Reading: 

Record Store Tales #600:  The Vault
Disk 1 Review
Disk 2 Review
Disk 3 Review
Disk 4 Review
Disk 5 Review
Disk 6 Review
Disk 7 Review
Disk 8 Review
Disk 9 Review

 

 

 

 

 

 

For those keeping score at home, this CD contains tracks 136-150 in the Vault box set.  This time we foray into genres far and wide, from disco to reggae.

GENE SIMMONS – The Vault – Disk 10 (2018 Rhino)

“Take It Like a Man #2” originated with a riff written on bass, and then intended for Psycho-Circus.  Tommy Thayer and Eric Singer play on this demo.  It was intended that Ace, Peter, Paul and Gene each take a line, and Gene does his little imitations of the members where he wanted them to sing.  This song may have had been better than “You Wanted the Best” which had the same idea.  It’s heavier and sounds pretty good in this demo form.  Though it came later, it has a Creatures vibe.  3.5/5

“Take It Like a Man #1” is the original bass lick from which the song was later written.  This is included to show how Gene would “hear” a full song in his head when coming up with the riff on bass.  It also demonstrates he’s a better bassist than he gets credit for.  This unfinished idea is just that: unfinished.  Yet you can hear he was onto something, as demonstrated by “#2”.  2.5/5

“Have Mercy, Baby” is a Simmon / Kulick composition with Bruce playing guitar.  This is a fully-fleshed out demo, at first recorded to four-track and then upgraded to 24-track for overdubs.  It sounds like a Crazy Nights or Hot in the Shade era tune.  That said, it wouldn’t have been album worthy.  Though Bruce Kulick always offers intelligent and tasteful solo work, the song itself only has one or two solid hooks.  2.5/5

Gene gushes over Eric Carr as a human being in the liner notes.  “We Won’t Take It Anymore” is a song that originated in the same session as “My Babe”, next on the box set.  Written by Gene and Eric, this is a hard rocker with a cool chorus.  It really is a shame that Eric wasn’t nurtured as a songwriter in Kiss the way he could have been.  This has a strong “All Hell’s Breakin’ Loose” kind of vibe, and the chorus really would have worked well with Kiss.  3.5/5

“My Babe” is completely different!  This fast, almost pop-punk!  It almost throws back to Dressed to Kill-era Kiss, with that kind of simplicity and basic rock and roll arrangement.  What it is, is a hybrid of many things and all of them sound good to me.  It’s understandable why Kiss didn’t want to do this kind of song in the Carr era, but they really should have.  3.5/5

“Eat Your Heart Out” is not the same song that was later used on Monster (though the chorus really is similar).  This is a late 70s demo of an idea that originated with “Rotten to the Core”.  It’s a tangled web since so many ideas appear in multiple forms on this box set.  This is a menacing little rock song that would have worked on any Kiss album from that period, but probably just wasn’t good enough.  There are some cool melodies on the pre-chorus especially.  3/5  

“Nine Lives” is a cool late-80s idea with Bruce Kulick on guitar.  Again, not quite good enough to replace one of the album songs, but there is promise here too.  It has a slow, slinky vibe.  Kulick shows of some cool whammy work, followed by two-handed tapping.  His technique seems to date it to Crazy Nights.  3/5

Back to the 70s, “Howling for Your Love” has Katey Sagal and the girls on backing vocals.  It’s very similar to “Bad Bad Lovin'”, also known as “Dr. Love”, and the tangled web of songs becomes even more so.  It’s pretty good and, once again, had Kiss made more albums, this would have been on one of them.  3/5

“I Ain’t Coming Back” is the song that “Never Gonna Leave You” from Disk 7 became.  This is a four track demo with a dancey beat, but it’s no better than the other version.  One of the poorer tracks on this set, with a chorus that should have never hit the recycle bin.  Just trash it.  1/5

The riff to…ahem…“Granny Takes A Trip” sounds similar to “Weapons of Mass Destruction”.  The title here was taken from a store in New York that sold platform boots.  It’s very metal, but not very good.  It’s very alterna-grunge.  Probably intended for Carnival.  Very noisy.  Not worth exploring further.  1/5

Former Journey and Vinnie Vincent Invasion singer Robert Fleichmann co-wrote “Piece of the Rock” (not the King Kobra/Kick Axe song).  This has a dark 80s vibe but sounds unfinished.  There’s a compelling guitar part with good verses and a decent chorus, but the bridge that connects them should be excised.  The song just needed something else to go in that section, and it would be pretty good.  2.5/5

Gene says “Rock It” was inspired by Fine Young Cannibals.  I also hear Love and Rockets.  Judging by the vocal track, this sounds like it was recorded much later.  It’s not bad.  There’s something cool going on here, especially with those 80s drum programs.  3/5

“Sticky Goo” is a cool reggae-based idea.  It also has a “New York Groove” vibe.  It could be finished into something cool.  Cool, but different.  There’s no denying that some of these songs would simply not work with Kiss and would have to go on solo albums.  But, then again, they did do “Torpedo Girl”, so who’s to say what’s ultimately outside the Kiss wheelhouse?  Gene is sure to lay down crunchy rhythm guitars here to ground it in rock.  Still hearing lots of “New York Groove” though.  3/5

“Love Came To Me” is Gene’s answer to “I Was Made For Lovin’ You”, but it also re-uses certain melodies from “Love Is Blind”.  (This is not mentioned in the book, but I’m telling you with my ears.)  Gene concedes that he doesn’t know as much about dance music as Paul Stanley, but this isn’t a bad stab at the genre.  It’s not as fast and infectious, but the bassline is a lot of fun, as is the beat.  You could dance to it.  3/5

“Roar of the Greasepaint” is the original idea that later became “Journey of 1,000 Years” on Psycho-Circus.  He later added chords from the earlier “You’re My Reason for Living 4 Track” (Disk 4) to create the final version.  That version is superior for many reasons, including the heavy orchestration and progressive vibes.  “Roar of the Greasepaint” has a cooler title though.  It really ties into the Kiss image and should have been left as-is.  This was the closing song on Psycho-Circus, and would have been the closing song on this 150 song box set…if Gene didn’t include an 11th bonus disc!  3.5/5

Average score by song:   2.76/5 stars

 

Disk 10 Track length and songwriters (from Wikipedia)

1. Take It Like a Man #2 (2:38) Simmons
2. Take It Like a Man #1 (2:44) Simmons
3. Have Mercy, Baby (4:04) Simmons / Kulick
4. We Won’t Take It Anymore (3:03) Simmons / Carr
5. My Babe (1:51) Simmons / Carr
6. Eat Your Heart Out (2:22) Simmons
7. Nine Lives (3:33) Simmons / Sigerson
8. Howling for Your Love (2:47) Simmons
9. I Ain’t Coming Back (3:02) Simmons
10. Granny Takes a Trip (1:55) Simmons
11. Piece of the Rock (3:48) Simmons / Fleischman
12. Rock It (2:23) Simmons
13. Sticky Goo (3:05) Simmons
14. Love Came to Me (3:25) Simmons
15. Roar of the Greasepaint (3:07) Simmons

REVIEW: Gene Simmons – The Vault – Disk 9 (2018)

Previous Reading: 

Record Store Tales #600:  The Vault
Disk 1 Review
Disk 2 Review
Disk 3 Review
Disk 4 Review
Disk 5 Review
Disk 6 Review
Disk 7 Review
Disk 8 Review

 

 

 

 

 

 

Welcome back, creatures of the night.  For those keeping score at home, this CD contains tracks 121-135 in the Vault box set.

GENE SIMMONS – The Vault – Disk 9 (2018 Rhino)

Gene wrote “It’s Gonna Be Alright” with Mikel Japp, who was a Paul Stanley co-writer.  This was written for Creatures, and this 4:29 version appears on that box set.  Japp came up with the opening lick while the rest came from Gene.  It’s a good song, though too upbeat and pop for Creatures.  The drum machine is just a placeholder, but even with the drum machine, it’s a good song already.  The guitar part is catchy and Kiss-like.  It would have fit into that Kiss Killers sound.  3.5/5

“It’s Gonna Be Alright #2” was re-done with Bruce Kulick in the mid-80s.  This is more fleshed out, with solos and harder-edged guitars.  The drum program is more sophisticated and it’s more suitable for an album like Asylum.  A real shame that songs like this were not chosen in favour of weaker compositions.  Some songs might not have fit the direction of the album, but perhaps the direction of the album was at fault.  4/5

“Everybody Knows #1” is performed with Tommy Thayer, who plays a very similar acoustic guitar part inspired by “Rock Bottom” from Dressed to Kill.  The electric guitars kick in, along with a massive chorus.  This would date back to the Hot in the Shade era and absolutely should have been on that album.  The answering vocals are killer and it makes you wonder what Paul Stanley could have done with those backing vocals.    According to Wikipedia, the Japanese version of Asshole contained “Everybody Knows” as a bonus track, but it is unknown which one.  4/5

“Everybody Knows #2” is a very different version.  This one is more 90s and alterna-rock.  It could have worked on an album like Carnival of Souls or Psycho-Circus.  While it is still a good song, the previous one is superior, though that might just be a matter of taste.  The chorus is intact but a lot of the hooks I liked are not.  3.5/5

A very special demo is ahead.  “You’re All That I Want” was of course the closing song on Kiss Unmasked.  Gene says this is the only demo he has with Paul Stanley assisting.  Therefore this is the Starchild’s only appearance in this box set, and perhaps therefore the only “true” Kiss demo.  It’s like a shock to the system to finally hear Paul singing, nine discs in.  This demo doesn’t have the pep of the final version, but they were going for something harder edged.  The acoustic guitars are very crisp and unlike anything on the Unmasked album.  This demo just proves that Gene and Paul are better together than apart.  4/5

“Kids With Painted Faces” is the third version of “I Am Yours”, here re-written with new lyrics including one about playing air guitar to Ace.  The Beatles influence still comes through.  This is the song Gene compared to “All the Young Dudes” due to its anthemic guitar melody.  One lyric is pretty poignant:  “There is no Kiss without you.”  True, Gene.  True.  3.5/5 

“I Wanna Rule the World” is another variation of the “Now That You’re Gone” / “Mirage” idea.  It sounds as if the Beatles moved to Seattle in 1992.  It’s quite intriguing.  There was a certain simplicity that was happening with melody in the 1990s, and this demo shares that quality.  It is not bad, but the rough and distorted recording does it no favours.  It is important to remember that “demo” means “demonstration”.  You would literally record an idea to relay or demonstrate the idea to another person, either for them to perform it themselves, or see if they are interested in it.  3/5

“Rule the World #2” is a completely different idea with a similar title.  In the liner notes, Gene explains he does this to make box sets harder for reviewers to write about (kidding!).  This is a very grungey, alternative song with droning guitars and a distinctly 90s sound.  This is one of the songs Gene wrote with Scott Van Zen.  It’s pretty good, and if Kiss had just made more albums instead of drying up creatively after the reunion, this might have come out on one of them.  3/5

“Damn, I’m Good” starts with Gene coming up with the CCR-inspired chord ideas on acoustic.  It then fades into a funky electric demo with Eric Singer.  Gene notes that he re-used some of the lyrics in this song in multiple other songs in the box set, including opener “Are You Ready”.  Now, you don’t often associate Gene Simmons with funky rock, but “Damn, I’m Good” cooks.  Kiss could not have done a song this funky without Ace Frehley, which is to say, though it is only mildly funky, it would benefit from the guy who wrote “Torpedo Girl”.  In short:  this is a different song and it may turn off some listeners.  I think it’s great.  4.5/5

An instrumental version of “Dial L For Love” appeared on Eric Carr’s posthumous Unfinished Business album.  Now here is a full version with drums, lyrics and Gene Simmons singing.  Bruce Kulick also appears, and Adam Mitchell helped finish.  It has a cool 80s riff with the harmonics that were currently in vogue.  Had it been included, Gene says it would have been on Animalize or Asylum, but I think his memory is a bit faulty.  This sounds more like Crazy Nights era.  It should have had Eric Carr singing.  The chorus sounds up his alley.  3.5/5

“Just Like the Movies #1” is the only song Gene wrote with singer / songwriter Stephen Bishop.  This might be a good thing.  It’s hard to hear what Gene was going for.  It sounds like something circa Unmasked, with complex pre-recorded drums and a dancey sound.  In fact some of it did end up in “She’s So European” if you listen carefully.  You won’t read that in the liner notes.   Gene liked the title as a chorus idea:  “Just like the movies, I feel like Romeo.”  The idea seems like it has something usable, but this recording wouldn’t have been it.  2/5

“I Know Who You Are” ended up on Gene’s first solo album as “Living In Sin”.  This early demo features Joe X. Dube of Starz on drums.  Though this version still features prominent piano beats, it’s more rock n’ roll, and Kiss-like, than his solo counterpart.  You can almost hear where Gene would want Ace to lay down a fat solo.  Gene says all this is based on an old song idea called “Drive Me Wild”.  3.5/5

“Sweet Temptation”, or part of it anyway, was used in “Only You” on The Elder.  It becomes the “I can’t believe this is true, why do I listen to you?” part.  The rest was discarded.  Which is fine.  The chorus is not memorable.  It’s fascinating how these songs come to be.  Of course, as we have discussed, perhaps the older demo of “Only You” is better than the final, but here’s the missing element that was needed to created the Elder version.  2/5

“Are You Always This Hot” is a late-80s shredder song featuring Bruce Kulick and co-written by Adam Mitchell.  The solo is all whammy and tricks, and the tempo is that uptempo plod that Gene was good at on albums like Animalize.  “Are You Always This Hot” is a song title we’ve seen printed in magazines and books for years, but I always thought with a title like that, it was a Paul song.  Nope!  All Gene.  2.5/5

“Fourever” goes back to the same sessions as “Bad Bad Lovin'” aka “Dr. Love”, so you know how old it is, though this version sounds newer.  It features prominent sax, and was inspired by the Dave Clark Five.  It’s basically Gene singing about himself and Kiss, but it’s certainly not the first time.  It’s pretty good, mostly because of the saxophone and cool shouted backing vocals.  It could have worked with Kiss, who did eventually incorporate sax into some of their music.  3.5/5

Average score by song:   3.3/5 stars

 

Disk 9 Track length and songwriters (from Wikipedia)

1. It’s Gonna Be Alright (4:30) Simmons / Japp
2. It’s Gonna Be Alright #2 (3:15) Simmons / Japp
3. Everybody Knows #1 (3:55) Simmons
4. Everybody Knows #2 (3:45) Simmons
5. You’re All That I Want (4:06) Simmons
6. Kids With Painted Faces (3:15) Leader / Simmons
7. I Wanna Rule the World (5:01) Simmons
8. Rule the World #2 (4:08) Simmons / Van Zen
9. Damn, I’m Good (3:29) Simmons
10. Dial L for Love (3:42) Simmons / Mitchell / Carr
11. Just Like the Movies #1 (2:45) Simmons / Bishop
12. I Know Who You Are (3:28) Simmons
13. Sweet Temptation (2:48) Simmons
14. Are You Always This Hot (3:01) Simmons / Mitchell
15. Fourever (3:05) Simmons