Reviews

REVIEW: Twisted Sister – The Best of the Atlantic Years (2016)

TWISTED SISTER – The Best of the Atlantic Years (2016 Atlantic)

Nobody likes buying the same thing twice, so Twisted Sister have ensured this “greatest hits” album is vastly different from their other stand-by, 1992’s Big Cuts & Nasty Cuts.  That album boasted a side of live B-sides, now collected as Live at the Marquee.  As such, it only had 10 studio tracks, whereas this new compilation has 17 plus a previously unreleased bonus.

The repeated songs are the obvious ones:

  • “I’ll Never Grow Up, Now!”
  • “You Can’t Stop Rock ‘N’ Roll”
  • “I Am (I’m Me)”
  • “The Kids Are Back”
  • “I Wanna Rock”
  • “We’re Not Gonna Take It”
  • “The Price”

That leaves a whole lotta songs, including a few singles, that you’ll find here but not on Big Hits.  Notably though, that means this compilation doesn’t have “Shoot ‘Em Down”, “Under the Blade”, or “Bad Boys of Rock ‘N’ Roll”.

What makes this compilation a little more special is that the tracks go almost chronologically, and don’t skimp out on songs from Come Out and Play, or Love Is for Suckers.  Founding guitarist Jay Jay French mentioned in the liner notes that Suckers was supposed to be a Snider solo album, but we do get two songs.

Opening with Twisted’s first Atlantic album Under the Blade, we are treated to the 1985 remixes of “What You Don’t Know (Sure Can Hurt You)”, “I’ll Never Grow Up, Now!” and “Sin After Sin”.  It’s a nice one-two-three punch, with “I’ll Never Grow Up, Now!” being a bubble gum punk sandwich, stuck between two heavy metal hard hitters.  It’s actually a nice change of pace, getting the echo-laden remixes this time.

The heavy metal assault continues with what might be my favourite Twisted song of all time:  “You Can’t Stop Rock ‘N’ Roll”.

“Like a charging bull, it’s a juggernaut,With steam at full, never to be caught,Incarnate power, roaring from the sky,While others cower, rock ain’t gonna die.”

The slow intro, the chugging riff, the pounding drums of the late great A.J. Pero (my favourite member as a kid) and the roar of Dee Snider made this the perfect heavy metal song to entice a young teenager back in the 80s.  “You Can’t Stop Rock ‘N’ Roll” is part of a trio included from the same-titled album, joined by melodic metal masterpieces “I Am (I’m Me)” and “The Kids Are Back”.  When Twisted went all melodic, they drew upon classic influences, but combined with the heavy guitars, they almost sound like precursors to pop-punk.  In many regards, Twisted Sister were ahead of their time.  It’s a simple recipe:  Guitars chug, bass joins them, drums throw in some catchy fills, and Dee Snider delivers the hooks with the band on backing vocals.  Simple, but difficult to master.

The largest clutch of songs obviously comes from Stay Hungry, with six.  The three big singles are the obvious ones, but also thrown in are the classic deep cuts “Burn In Hell”, “The Beast” and “S.M.F.”  In these songs, you get the heavier side of “Stay Hungry”, minus the title track itself.  People who don’t actually know Twisted Sister might be surprised how heavy Stay Hungry could get once you ventured outside the safe singles.  “Burn in Hell” is an exersize in intensity that deserves every listen you can give it.  Perhaps the oft-forgotten “The Beast” is the most welcome here, as a true red-blooded slow burner metal monster.

Despite the quality of the lesser-heard Stay Hungry songs, one remains the pinnacle of Twisted Sister’s finest moments:  “The Price”.  Twisted probably took guff from the press and the doubters for attempting a ballad, but “The Price” puts the “power” in power ballad.  Notably, A.J.’s drums are far busier and heavier that you expect from the average paltry power ballad.  Dee Snider demonstrates his expert-level versatility here on the high notes, rendering this song very hard to sing note for note today.

This album wastes no opportunity.  Come Out and Play is finally given a fair shake.  The dark ugly duckling of the Twisted discography is represented by the title track, “Leader of the Pack”, “The Fire Still Burns” and the forgotten sing-along “You Want What We Got”.  They didn’t skimp out here, and you get the full length version of “Come Out and Play”, including the Warriors homage of “Twisted Sister, come out and play!”  Pero’s final album, and his drumming on this track is as blazing fast as it got for Twisted Sister.  “Leader of the Pack” is campy fun, but it really had to be included, being an integral part of Twisted’s early history and eventual failure (at least according to Jay Jay in the liner notes).  “The Fire Still Burns” has an intense flame indeed, though did Dieter Dierks’ production do it any favours?  Of note:  “You Want What We Got” is not the album version.  It is longer at 4:21, and contains an outro with Dee Snider talking, and dropping a deleted expletive!  This version is not credited as being unique, and it’s currently unknown where it originated.

Love Is For Suckers is often neglected.  The Beau Hill-produced album was written to be Dee’s solo debut, and included members of other bands from the Hill camp, such as Fiona, Winger and Kix.  Reb Beach played lead guitar, which led to a sudden change in sound, away from the heavy metal of Twisted Sister’s roots, and more towards what was popular at the time:  the subgenre they call “hair metal” today.  Joey “Seven” Franco replaced A.J., and was so nicknamed as he was the band’s seventh drummer.  Franco also followed Dee into his solo band the following year.  “Hot Love” was the single, which should have been a hit, while “Love Is For Suckers” was the only cover the band ever recorded without playing live first.

The final song is the bonus track, “Born to be Wild”, the Steppenwolf cover that they have indeed played live (going back to 1976, but more recently on Live At Wacken: The Reunion).  This new studio version was recorded in 2005 and produced by Mark “The Animal” Mendoza.  It was used prior to this release in a reality TV series called Knievel’s Wild Ride.  It’s tremendous fun, with Twisted Sister ripping into it with their usual reckless abandon.  Mendoza’s bass is delightfully bass, but Dee Snider really lets loose at the end.

This set, being limited to the Atlantic years, gratefully doesn’t include anything from Still Hungry or Twisted Christmas.  That’s fine and dandy; they would unbalance this release.  The Best of the Atlantic Years is the best single Twisted Sister compilation on the market.

5/5 stars

MOVIE REVIEW: Role Models (2009)

ROLE MODELS (2009, 99 minutes, Paul Rudd, Seann William Scott)

Directed by David Wain

All those “bro” movies are from the same mold, aren’t they?  They still make them too, variations on a theme.  The same general plotline always applies:  there’s a pair of funny but crude friends, who have a love/hate thing going on.  There’s a girlfriend (or fiance), usually a professional of some kind, to win or win back.  There are usually dick and fart jokes.

Role Models is all this, so I won’t go and tell you that it’s different from Knocked Up, Superbad, or Mr. Woodcock in any significant way.

Except one way.

.

Role Models is a love letter to the Hottest Band in the Land.  One of the writers clearly loves them, and knew how to make that funny.

In one of the earliest scenes, Scott throws Love Gun into the car tape deck.  “Kiss?  Nobody likes Kiss.  Paul Stanley is sick of Kiss,” says Rudd.  Yet, the song “Love Gun” is a recurring motif in Role Models.

Here’s the plot in a nutshell:  Two guys work for an energy drink company called Minotaur (think Red Bull, but in gross green).  Their job entails doing presentations to kids in highschool to stay off drugs, and drink Minotaur instead.  (“We’re selling nuclear horse piss to kids” – Rudd.)  One day it all goes wrong for Rudd and his girlfriend Beth (get it?  See where this is going?), played by Elizabeth Banks.  Rudd goes a little nuts at a presentation, and his giant minotaur truck ends up mounting a horse statue in the school yard.

Luckily, Beth is a lawyer and cuts Rudd and Scott a deal with the judge (without the two even having to appear before him, how convenient for a 99 minute movie).  They have to volunteer with “Sturdy Wings”; sort of like a big brothers program.  They each have to mentor a child for a set number of hours.  The program, run by a hilarious Jane Lynch, is only mildly creepy.

As the two protagonists get to know their assigned “littles”, Scott teaches his new friend about Kiss.  “These guys look like clowns,” says lil’ Ronnie.  Scott explains that they’re not, they’re actually really rich Jewish guys, and all their songs are about fucking!  This interests his young friend, who then starts dancing to “Love Gun”.

“You pull the trigger of my…Love Guuuuuuuuuun!” goes the familiar song.

“See Ronnie?  His dick is the gun!” explains Scott helpfully.

Meanwhile, Paul Rudd’s little buddy Augie is played by Christopher Mintz-Plasse (known to you as McLovin).  Augie loves fantasy role playing (LARPing), and takes Rudd to a battle.  Rudd is not impressed (“I just spent the afternoon with Gleep-Glopp and the Floop-dee-doos”), but decides to help Augie when he needs battle companions.  There’s a memorable camping trip that ends with a naked Seann William Scott, but it’s balanced out by Wings jokes (including a fake Wings song called “Love Take Me Down to the Streets”).

Without spoiling the epic ending (complete with a sword battle, a siege, and  Ken Jeong), except to say that before credits role, you will hear at least two more Kiss songs, and see the four main characters dressed in Kiss makeup and battle armor.  No explanation is given for how the quartet threw the armor together in a mere afternoon, but details do not matter in a film like this.  Prepare for a climax that finishes the movie on a hilarious note.

Other great talents in this movie included Joe Lo Truglio and Ken Marino, so check it out if that sounds like your kinda thing.  And especially if you’re a Kiss fan.

4/5 stars

2/5 stars for non-Kiss fans

REVIEW: The Beaches – Blame My Ex (2024)

THE BEACHES – Blame My Ex (2024 FACTOR)

By now, everyone has heard the anthem “Blame Brett”, a song named for Jordan Miller’s ex, Brett Emmons of the Glorious Sons.   While we don’t have Brett’s side of the story, from Jordan’s POV, the relationship is to blame for the following “wild” phase.  “So sorry in advance, before you take off you pants, I wouldn’t let me near your friends, I wouldn’t let me near your dad.”  This exceptional single has been an earworm all year, and the band are now reaping the rewards with international touring and an appearance on Kimmel.  “Don’t blame me, blame Brett!” has become a rally cry.

“What Doesn’t Kill You Makes You Paranoid” boasts a strong chorus, wicked fuzzy guitars and delectable melodies served on a plate of a great beat and fun lyrics.  “I think I’m becoming a conspiracy theorist…everyone says that love exists, but I think that it’s a myth.”  A great song that screams hit potential.

“Me & Me” plays with tempo, and goes for the accelerator with an 80s sound, and great shouted backing vocals.  One of the strengths of this band is the vocalizing by the band, making it a party atmosphere.  The party continues with “Everything is Boring” and its “ah, ah” vocals.  “Doctor please, just pill me,” sings Jordan Miller to the ADD generation.  The pace slows down on “My Body Ft. Your Lips”, a playful title.  This is a duet with an American band called Beach Weather, and the female/male vocal lines work really well.  Though it takes a minute to catch, this is a great soft, slow burner.

“Kismet” has a speak-sing style on the verses, before the chorus bursts out in exuberant upbeat excitement.  The choruses are great, with a disco flavour and a quick beat, but the verses take some getting used to.  Moving on, “Shower Beer” is a great title.  You may have heard of the concept of drinking a beer in the shower.  “I’ve got fear of missing out, I wanna get drunk and sit up, I need to be talked about,” sings Jordan Miller.

“Edge of the Earth” has proven to be a success for the band, and you can hear why.  This ballad with a beat has passionate vocals, amazing melodies and harmonies, and the right vibe for a summer cruising hit.  That’s followed by a mid-tempo number with acoustic undertones called “If A Tree Falls”, which has nothing to do with the Bruce Cockburn song of the same name.  This is a really pretty pop rocker with a nice little guitar solo that is played for vibe.  The album goes back to high-speed pop rock on the closer “Cigarette”.  “I wanna be your cigarette,” squeals Jordan Miller, on one of the album’s most fun tunes.

Here’s the big problem with this CD.  Two, in fact:

  1. Difficulty to purchase.  The only way I could get this CD was at a show (sold out) or on their website ($15 shipping).
  2. No booklet, no credits, no nothing.  Only the song titles are listed on the back, not even the band members!

This album should be in every store.  It’s a hit waiting to happen.

4.5/5 stars

#1128: Evil Kirk

RECORD STORE TALES #1128: Evil Kirk

It seems like a lifetime ago, that I co-wrote and recorded the only song I’m on that has ever been officially released. On August 6 2010, I sat down at my computer and wrote the lyrics to what would become one of the strangest songs on Kathryn Ladano’s CD, Open.  And yes, you can buy it on iTunes or on compact disc.  Just search for Ladano!

Kathryn performs mostly improvised instrumental music, and “Evil Kirk” was to be the only spoken word piece on the album.  I had been bugging her for a while to appear on one of her albums, but considering that I’m not a very good singer, and she doesn’t use vocals, it seemed all but impossible.  I had thrown around an idea of doing an “Optimus Prime Trilogy” – the life, death, life, death, life, and final death of the Marvel Comics version of the character.  This didn’t click with her, but eventually she thought of doing something about Captain Kirk.  “Evil Kirk” refers to the original Star Trek episide “The Enemy Within”, in which a transporter accident splits Kirk into good and evil halves.  Kathryn loved the episode (probably because there was an alien puppy dog with a horn and antennae), and she really loved William Shatner’s hilariously overwrought performance.

We had an idea of doing the lyrics as a rough series of favourite Kirk quotes.  We’d avoid the obvious stuff like “Khaaaaaaan!” and focus on some of our personal favourites.  On a personal level, I wanted to honour all eras of Kirk to date, which meant the Chris Pine movies too.  Today, Paul Wesley plays an excellent modern take on the character in Strange New Worlds, but when we recorded “Evil Kirk”, Chris Pine was the guy.

We did four takes.  I present to you the lyrics to “Evil Kirk” as they appear in my notes, with notations on the origins of each Kirk quote.  This is not exactly word for word how it went on the album, but how I wrote it initially.  Minor changes are a part of improvisation!

 

It was the best of times, it was the worst of times.
Message, Spock?

The Wrath of Khan takes place on Kirk’s birthday.  Spock gifts his friend an ancient printed book of A Tale of Two Cities.  “It was the best of times, it was the worst of times,” is Kirk reading the opening sentence of the novel.  He then asks Spock if there was a hidden meaning to this gift.  None except “happy birthday, surely the best of times.”  But Kirk is not happy getting old and fat behind a desk.  This theme of aging runs through the film.

Of all the souls I have known
His was the most
Human.

I truly believe that Spock’s funeral scene in The Wrath of Khan is some of Shatner’s very best emoting in his long career.  This line comes from his eulogy for his best friend.  When he stumbles and pauses before the word “human”, you can feel the grief as if it were real.  The way his face wrenches up before he says the word…I admit it brings tears to my eyes!

No more blah, blah!

From season one, episode eight:  “Miri”.  A planet of children frustrates Kirk with their chanting of “blah, blah, blah!”  In a rage, Kirk responds “NO MORE BLAH BLAH BLAH!”  I shortened it to “blah blah” because that’s the way it sounded to me.  This is sort of a recurring chorus.

Did I ever tell you, you play an irritating game of chess, Mr. Spock?

From the second pilot episode, “Where No Man Has Gone Before”.  In order to introduce the characters to the TV audience, Spock’s logical side is showcased here.  “Irritation?  Ah yes, one of your Earth emotions,” says Spock before Kirk checkmates him.  “Sure you don’t know what irritation is, Mr. Spock?” smiles Kirk.

So why don’t you get some more guys and it’ll be an even fight.

The first Chris Pine line in the song.  This is from the 2009 Star Trek movie, when a civilian Kirk gets into a bar fight with some Starfleet personnel.

You can whistle really loud, you know that?

Same scene, same movie.  This is when Captain Pike breaks up the brawl and sits Kirk down for a little chat about his future.

No more blah,blah!  

Of all things, a god needs compassion.

From the second pilot episode again.  Kirk’s closest friend since the Academy, Gary Mitchell, has acquired god-like powers.  As he goes slowly mad with power, Kirk reminds him of the fundamentals of godhoood.

What does God need with a starship?

From the much-maligned fifth Trek movie, directed by Shatner himself.  The USS Enterprise goes to find “God” at the center of our galaxy.  The “god” requests the Enterprise to be his chariot.  The charade doesn’t last, as Kirk questions him why a god would need a starship.

Our missions are peaceful…not for conquest.

Season one, episode 18:  One of our favourite episodes, “Arena”.  Known to casual fans as “the one with the Gorn”, Kirk is sent down by the Metrons to do hand to hand combat with an alien lizard.  You can bet, his shirt gets torn.

Worlds are conquered, galaxies destroyed…but a woman is always a woman.

A great line right out of the 1960s, from season one, episode 13:  “The Conscience of the King”.  Known as “the one with Kodos the Executioner”.   This line is regarding Kodos’ beautiful daughter.   Not a personal favourite episode, just a great line.

No more blah, blah!

Take me back! Please! I want to live!
I’m Captain Kirk… I’M CAPTAIN KIRK!

Also from “The Enemy Within”.  The only way to fix the split good/evil Kirk problem is to re-combine them.  Yet, the evil one doesn’t want that.  He wants to live!  This is a moral quandary that Star Trek would revisit again in episodes like “Tuvix”.  A harrowing performance, if campy.

Yeoman, I owe you an explanation…The transporter malfunctioned, divided me, created a duplicate…The animal part of me came to your cabin…He even scratched me to make us look more alike…I’d like the chance to explain it to you…You don’t mind if I come to your cabin later?

A great line from “The Enemy Within”, as Evil Kirk tries to seduce Janice Rand, played by Grace Lee Whitney in season one of the show.   The Evil Kirk is lying of course.  He is up to no good!

No more blah,blah!

Second star to the right…and straight on ’til morning.

From Peter Pan, but also from Star Trek VI: The Undiscovered Country (“the one with Kim Cattrall”).  On the Enterprise-A’s final voyage, they are ordered to return home for decommissioning.  Kirk and crew decide to tell Starfleet to “go to hell”.  When asked for course and heading, Kirk responds with the Peter Pan line.  This is also something of a throwback to the ending of the very first Star Trek motion picture.  When asked for a course, Kirk responds, “Over there…thataway.”

Everybody remember where we parked.

A funny line from Star Trek IV: The Voyage Home.  The crew park a cloaked Klingon Bird of Prey in the middle of a park in Los Angeles, circa 1986.  The film might be better known as “the one with the whales”.

How we deal with death is at least as important as how we deal with life.

Kirk’s line of wisdom to Saavik, played by Kirstie Alley, in Star Trek II: The Wrath of Khan.  When she fails the Kobayashi Maru test, a no-win scenario, Saavik questions the purpose of a test where everyone dies, in every possible situation.

If Spock were here, he’d say that I was an irrational, illogical human being for going on a mission like this…
Sounds like fun!

I felt I had to be inclusive, and I couldn’t ignore Kirk’s only appearance in a Next Generation-era project.  Star Trek: Generations (“the one where Kirk dies”) is derided by many fans for a swirly-wirly timey-wimey plot and some continuity issues, which we will get to.  This line here is a fan-service reference to Spock, when Picard offers Kirk one more chance to “make a difference”.

No more blah,blah!

I’ve always known…I’ll die alone.

Speaking of continuity, this line from Star Trek V: The Final Frontier (“the one where they meet God”) is a problem.  When Kirk eventually dies, Picard is by his side.  Fans have ret-conned this to mean that Kirk knew he would die without any of his friends.

What is a Man, but that… lofty spirit… that sense of, Enterprise! That devotion to something that cannot be Sensed… cannot be… Realized, but only… DREAMED! The HIGHEST Reality!

Season two, episode eight:  “I, Mudd!”  The second of several appearances for Harcourt Fenton Mudd, delightful rogue and scammer.  Played by Roger C. Carmel in the original and animated series, Mudd was later portrayed by Rainn Wilson in Star Trek: Discovery and Short Treks.  In “I, Mudd”, a planet of human-like androids is the scene for a comedic Trek.  Kirk’s line here is about what it means to be human, a common theme in all of Star Trek.

It was…fun.

Kirk’s final line of dialogue to Picard, before he dies in Generations.  Fans actually cheered his death in theaters.  That’s when Paramount knew their movie was in serious trouble.

KHAN!

OK, so I did use the line initially, but during the performance, we knew it wasn’t right.  Ending it with “It was…fun” made more sense.

And that’s “Evil Kirk” for you, line by line.  I wish I could do just one more take of it, as I think I have better control of my voice now, but I think the final version is pretty good.

 

REVIEW: One Drop – One Drop (2004)

Thank you @darcyska for gifting this CD!

ONE DROP – One Drop (2004)

One Drop, from Victoria BC, (not to be confused with the San Diego band) is a seven piece reggae rock band boasting saxophones and keyboards.  They’ve been around 20 years, and have at least three releases out.  Having said that, this will be my first listen (and first impression) of this band and their music.  With sax and keys, it should be a rich sound.  Let’s get on with it!

“Rudy” opens this 13 track album with loops and a beat.  Even Marillion were experimenting with loopy beats in 2004, and I definitely recognize some of those drum loops (distant and steady) as being fashionable at the time.  Then, the track kicks into gear with the saxophones and a bouncy low bassline.  The vocals are partly rapped, but it works within the song.  There are even guitar solos.  Excellent track!

“Three Four Reggae” is a brief song featuring acoustic guitar and rolling bass.  It’s a gentle track that lulls you in, leading right into the hard hitting “Big Bang”.  This blast of a song hooks you in with a saxophone line at the forefront.  It alternates between cool reggae beats and the crash of heavy guitar chords.  There’s even a wicked guitar solo.  Shades of the Mighty Mighty Bosstones can be heard on this song.

Another brief interlude comes in “Tango” featuring an old sample mixed with a modern beat.  Again, this seamlessly leads into a heavy-hitter.  “Look the Other Way” is fast and hard punk rock, complete with snotty nose.  Just as suddenly, we’re in the slow groove of “Never Rest”.  The saxophones are back center stage, and the bass continues to roll while Blair Douglas raps an anti-war message.  George W. Bush is lambasted, as the Iraq war raged on.  This track would probably have been awesome to hear live back in the day.  There’s a brilliant, soft alto sax solo at the end that just reeks of atmosphere.  Brilliant tune.

The pace picks up on “Someday”, which jangles its way into your skull right down to your feet.  On “Never There”, the groove slows and becomes bitter.  This song doesn’t jump out immediately.  It may require further listening.  “Bloodshed” again tackles serious subject matter, with a gentle guitar rhythm backed by solid bass.  Better though is “Gotta Relate” which has a more rock and roll feel, with a classic guitar riff backed by reggae bass.  This transitions to a more traditional reggae guitar part, and I get a bit of a Sublime vibe.  This is a great song, period.  The chorus is catchy as hell.  Then, an epic “Rich Man Poor Man” plays with different sections, different tempos, and almost comes off as…progressive rock reggae?  Is that a thing?  If it is, that’s “Rich Man Poor Man”.

The album closes on two long bombers.  “Rudy Dub” is what it sounds like:  a slow dub groove.  The organ is the main feature here.  This is a cool instrumental that works as the penultimate track on an album.  The final track, “The Projects”, takes a while to get going and might have benefited from some editing.  It has all the energy, drive and punch it needs, but lacks hooks.  A killer hook or two, and this album would have ended on an unstoppable note.  One Drop get too clever for their own good, going from section to section like a progressive rock band, but in search of that killer hook needed to slam it out of the park.  Just once you think they have one going, the song changes into something else.

Good album from a talented band.  I bet they are awesome live.

3.5/5 stars

 

Rock Daydream Nation: Mötley Crüe – can we defend Theatre of Pain?

This’ll get the trolls out!  Nothing gets the Motley fans in a tizzy more than critiquing a favourite album, or praising a later one with the wrong lead singer.  Our rock heroes are not infallible, and Theater of Pain might be the best example of this.  After two screamin’ and bangin’ hard rock/heavy metal albums, Motley made a slight change of image & sound, and left us in a Theater of Pain….

Peter Kerr of Rock Daydream Nation assembled a killer crew for this topic. With Joe B., John Clauser, Steve Deluxe, Melissa Nee and myself, we talk memories, impressions then and now, and most importantly, the songs.  We discuss every elephant in the room, from the tragic car crash that ended a life, addictions, and direction (or lack thereof).  This tumultuous period of Motley history is full of drama, superstardom, great music videos, and tragedy.

I’m excited to watch this show that I was proud to be a small part of.  Theater of Pain is one of my favourite musical topics, and I think we fairly covered all the bases here, and them some.  How do you feel about Theater of Pain?

Debuts at 8:00 AM E.S.T. on May 22 2024.

 

REVIEW: Alice Cooper – Breadcrumbs (2024)

ALICE COOPER – Breadcrumbs (2024 earMUSIC, expanded reissue of 2019 Edel EP)

Wait a second…”Breadcrumbs“?  I thought the full title was The Breadcrumbs EP?  It was, but with the addition of two bonus tracks, it appears that Breadcrumbs has been upgraded to an album, with a modified title and altered cover art.  Interestingly now the artwork highlights the production of Bob Ezrin.

Back in 2019, Alice Cooper wanted to do a Detroit garage rock record and pay homage to his roots.  The Breadcrumbs EP was originally six tracks of stripped down goodness on 10″ vinyl and limited to 20,000 copies.  (I own #48!)  Now on CD, it is expanded to include the 2020 standalone Covid-era single “Don’t Give Up“, and a live track from 2022.

For the first six tracks (the original EP), Alice is backed by the MC5’s Wayne Kramer, bassist Paul Randolph, Grand Funk’s Railroad Mark Farner, and Detroit Wheel Johnny “Bee” Badanjek. A remake of Alice Cooper’s “Detroit City” (from The Eyes of Alice Cooper) is an appropriate starting point:

Me and Iggy were giggin’ with Ziggy and kickin’ with the MC5,
Ted and Seger were burnin’ with fever,
and let the Silver Bullets fly,
The Kid was in his crib, Shady wore a bib,
and the posse wasn’t even alive.

That’s some rock and roll poetry right there.  Not one of Alice’s finest songs but worthy of a second chance.  Then “Go Man Go” is a new original composition co-written by Wayne Kramer.  It’s punk rock Alice, as authentic as the bands he’s paying tribute to.  Bob Seger’s “East Side Story” is anchored a steady groove, right out of Hendrix’s version of “Gloria”.  A really funky “Your Mama Won’t Like Me” (Suzi Quatro) is the centrepiece of the EP.  Horns blastin’, Alice hasn’t been this funky since his dance-oriented Alice Cooper Goes to Hell in 1976.  “Devil With a Blue Dress On” (Mitch Ryder and the Detroit Wheels) is the soulful side that Alice occasionally shows.  It’s merged with “Chains of Love” (J.J. Barnes) which pulls everything back to rock.  Finally “Sister Anne” by the MC5 puts the snot on the nose and the grime in the rock.  Kramer’s simply awesome riff is perfectly complemented by Cooper.

The world suddenly changed in March of 2020.  By May, Alice had made his statement on Covid-19:  “Don’t Give Up”!  It’s the most direct, most topical, and the least “Alice” song of the bunch.  Why?  Because this time he’s not telling stories, or covering a rock classic.  This time he’s addressing the listening directly and talking about current events.  Wisely, he just stuck to the feelings.

“Yeah, I know you’re struggling right now. We all are, in different ways. It’s like a new world that we don’t even know. It’s hard to sleep, even harder to dream. But look, you got seven billion brothers and sisters all in the same boat! So don’t panic. Life has a way of surviving and going on and on. We’re not fragile and we sure don’t break easy.”

Since it was 2020, the single was recorded in home studios and eventually released on vinyl, with a different version appearing on the Detroit Stories album.  This is the first CD release of the original 2020 version.   Musically you could call “Don’t Give Up” a power ballad.  It has a very 80’s guitar figure, with Alice speaking his message over it.  The chorus is more modern, with Alice singing as plaintively as he can.  It was never a remarkable track, but it was an important one in its time.

2020’s live version of “Go Man Go” features his live band, including Hurricane Nita Strauss on lead guitar.   This is a short blast of live track, and well recorded, at Hellfest 2020.  Probably just because of the live vibe, it’s a more enjoyable listen.

Nobody likes getting double-dipped and having to buy the same thing twice.  However, we’re used to getting fleeced by now.  It’s easy to ignore.

3.5/5 stars

REVIEW: Arkells – Disco Loadout Volume 1 (2024)

ARKELLS – Disco Loadout Volume 1 (2024 Universal)

Five albums in five years.  Album #10!  First covers album.  The Arkells show no signs of slowing down!

Hamilton Ontario’s Arkells are the kind of band that clearly love music.  You get this feeling from certain bands, such as Foo Fighters, or Weezer:   that the members just love playing music, and sometimes want to bust out a favourite song for fun.  Many of the songs here are tracks that the band have played live.  Disco Loadout exudes fun from every groove (or 1’s and 0’s if you listen digitally), and yes, it does include some disco (Abba)!  11 tracks: the perfect length.  Genres range from modern pop (Robyn, Harry Styles) to classic rock (Bruce Springsteen, Hall & Oates, Huey Lewis & the News) and pop (Whitney Houston, The Jackson 5).

Robyn’s “Dancing On My Own” has a chugging “Eye of the Tiger” kind of riff, paired with a rich horn section.  Drummer Tim Oxford opts for a big beat on this one, with his usual swing.  Singer Max Kerman pours it all in, and delivers big hooks on the chorus.  Check out that bassline by Nick Dika, a thrumming pulse that gets the blood pumping.  “Dancing On My Own” gets the album off to a fast paced start, upbeat and celebratory.

Keyboardist Anthony Carone takes the Jackson 5’s “I Want You Back” to the right place from the start, but it’s those big thick horns that really nail the authenticity factor.  This is not a song for the meek to cover.  The Arkells have had a soulful side that really came to the fore starting with Morning Report.  This track allows them to really let it out.  Without a bump, Hall & Oates’ “You Make My Dreams Come True” continue the blue-eyed soul vibe.  A favourite song of any Toronto Maples Leafs fan, this song is sure to be a popular one in Canada.  The Arkells do a wonderful version, and though it’s hard to top Darryl Hall’s vocals, Max does an admirable job.

Harry Styles’ “As It Was” has a keyboard line similar to “Take On Me” by A-Ha.  It has a nice retro vibe and a taut bassline by Nick Dika.  I like when they change the lyric “Harry, you’re no good alone,” to “Maxie, you’re no good alone.”  It has a beat and you can dance to it, but it’s not as classic as the other tracks on this album.

Guitarist Mike DeAngelis gets to sing co-lead vocals on Peter Gabriel’s “Sledgehammer”, and it’s a delight.  His voice is more similar to Peter’s, so when his lines kick in, it really adds to the authenticity (there’s that word again).  Speaking of authenticity, “Sledgehammer” lays on the horn section heavy once again.  This is a really fun cover.  Anthony Carone has the right 80s keyboard tons, and Oxford plays it for the beat, but not without throwing in some cool rhythmic tricks.  The saxophones are nice and thick, and you could swear it was 1986 all over again.

The first of two ABBA covers is a re-recording of “Gimme Gimme Gimme (A Man After Midnight)”.  An earlier version was on 2022’s Apple Music Home Session.  In both versions, Nick Dika shows an expert level knack for danceable but powerful bass.  Meanwhile, Tim Oxford is absolutely killing it on the drums, nailing both the groove and a hard-hitting power.  This song is a showcase for the upper echelon rhythm section of the Arkells.  There’s even a bass solo.

Speaking of bass, it’s prominent on Dolly Parton’s “9 to 5”.  Dolly is having a moment again, so the timing is right to cover a Parton hit.  It’s just pure fun, and not too serious.  The horns are back to thicken things up with sass and melody.  Lyrically, the song actually fits in well with some of the Arkells’ earlier hits like “Oh, The Boss Is Coming!” as a protest over the big guys in the expensive suits.  Stay tuned for a great sax solo, followed by a rowdy trumpet solo, and completed by a trombone showcase!  As if that wasn’t enough, Tim Oxford gets a drum solo, before Max orders that they go “New Orleans”!  What a trip!

“I Wanna Dance With Somebody” by Whitney Houston might be the most unlikely song on this album, but of course no pressure.  The Arkells have it covered.  Once again the bass is up front in the mix, really allowing the groove to come through.

Album highlight:  “Dancing In The Dark” by Bruce Springsteen.  The Arkells have gone with a Springsteen sound before (“Nowhere to Go” featuring Jake Clemons) so they clearly know what they’re doing.  This song drives harder than Bruce’s version, while retaining all the hooks.  Some may think Max Kerman is ill-suited to sing a song by a guy with a raspy voice like Bruce Springsteen, but no issue.  Awesome track, and hopefully a future live staple.

Huey Lewis’ “The Power of Love” is a definitive 80s anthem.  Of course, the Arkells are all over it.  Anthony Carone’s keyboards are particularly noticeable, while the rest of the guys just sit back and let it groove.  Mike DeAngelis has a fun guitar solo, and the reliable horns deliver those familiar hooks that you remember so well.  Every base is covered.  A perfect version.

The album closes, as it should, on the last ABBA cover, “Dancing Queen”!  What can one say about “Dancing Queen”?  It is one of the world’s most perfect songs, but also, be wary:  to cover a song this familiar and this classic is to frolic on thin ice.  Yet the Arkells, with the combination of ace rhythm section, the essential keyboards, and horns, manage to pull it off.  Max Kerman’s delivery is pure love and enjoyment of singing a classic song.

Engineered by Harem Scarem’s Harry Hess, this album sounds absolutely fantastic, with highs and lows coming through loud and clear.  Hopes are high that a Volume Two will eventually follow!

4.5/5 stars

ARKELLS

  1. Jackson Square (2008)
  2. Michigan Left (2011)
  3. High Noon (2014)
  4. Morning Report (2017)
  5. Rally Cry (2018)
  6. Campfire Chords (2020)
  7. Blink Once (2021)
  8. Blink Twice (2022)
  9. Laundry Pile (2023)
  10. Disco Loadout Volume One (2024)

…and more to come

REVIEW: Pretty Maids – Red, Hot and Heavy (1984)

Thank you to Thor Blackmore for this CD!

PRETTY MAIDS – Red, Hot and Heavy (1984 Sony)

I ignored Pretty Maids when I first heard of the band.  “Pretty Maids?  What kind of name is that?”  Shallow kid stuff, but impactful, because now in 2024 this is my first real listen to Pretty Maids with intent.  Red, Hot and Heavy was the debut album for the Danish hard rock band, after a self-titled EP in ’83.  The six-piece band had some moderate success with the album, so let’s have a listen.

Opener “Fortuna Imperatrix Mundi” is actually an excerpt from Carl Orf’s “Carmina Burana”, and is credited as such on the back.  It’s just a few seconds.  The real opener is “Back to Black”, a scorching metal number with tempo and riffs sharpened and at the ready.  The raspy vocals of Ronnie Atkins differentiate the song from the works of other metal groups such as Iron Maiden and Judas Priest.  The keyboards give a highbrow neo-classical vibe.  It’s heavier and fuller than Dio, but with all the drama and guitar solo shenanigans.

The title track is slower and nastier.  A rallying cry for metal heads, “Red, Hot and Heavy” doesn’t pretend at being anything more than it is.  A slow metal banger, perfect for fist-pounding and shouting along with at the concert hall.  The shout chorus is custom made for the stage.  The duel guitar solo is pretty cool.  A stock metal chugger, but there is a need for a drum-bashing, stompy riff-rocking concoction such as this.

The highbrow keyboards return on “Waitin’ for the Time”, a very European sounding song which builds from a ballady opening to an upbeat pounder.  Sounds a bit like the Swedish band Europe during their Wings of Tomorrow era, with a hint of Def Leppard in the riff.  It’s an excellent song with light and shade, and a complete musical journey without exceeding five minutes.

“Cold Killer” begins with news broadcast dialogue, and then goes in a fast and ominous music unlike the other songs.  The rather clunky lyrics are about the weaponization of space, a hot topic in 1984 with Reagan’s “Star Wars” program in the nightly news.  But…clunky.  “There should have been a paradise, instead there’s a killer out in space.”  We’ll give them credit for trying at least, which is more than could be said for many bands of the 80s.  Musically it’s a terrifically fun ride through sweet guitar riff and solo action.  The keyboards add a progressive vibe, though some might say pretentious.

The anti-war theme flips over onto side two, with “Battle of Pride”.  Again, it’s not poetry, but the lyrical theme was very popular in metal at the time.  Musically it’s a fast Dio-like rocker with the keyboard accents giving it a different flavour.  Ronnie Atkins’ rasp continues to separate Pretty Maids from other bands, but by the time we hit side two, the ear is craving more variety in the voice.

“Night Danger” is a pure blitzkrieg, now more in the wheelhouse of a band like Accept.  These guys are not slouches when it comes to riffs over 80 mph in speed.  The irony is that, even at that speed, the song doesn’t really go anywhere.  It’s speed for its own sake, and that’s actually fine, because it’s plenty fun and doesn’t need to be anything else.

Acoustics join the electric guitars on “A Place in the Night”, one of the most impressive songs on the album.  Mid-tempo melodic rock, and dialing down on the vocal growls, is exactly what the album needed at this point.  The chorus explodes with passion and power at the right moment.  The keyboards add to the mixture by thickening up the melodic accents.  Brilliant deep cut late in the album.

“Queen of Dreams” has an Yngwie vibe again, though Malmsteen wouldn’t put as much emphasis on the other instruments.  The keyboards add a regal synth-trumpet sound over the guitars, but when the drums kick in, there’s no nonsense.  It’s that kind of metal that is obviously influenced by Deep Purple and Blackmore’s Rainbow, but amped up for the 80s.

The surprise is the closer:  a cover of Thin Lizzy’s single “Little Darling”.  Formerly a horn-laden rock classic, Pretty Maids heavy it up a bit and increase the tempo.  Though “Little Darling” will always be a personal favourite, I don’t think Pretty Maids did it any favours.  Their backing vocals are too shrill for the chorus, and without the horns, it loses that something special.  A swing and a miss for Pretty Maids, which is terribly unfortunate.

Red, Hot and Heavy is a strong debut.  Obviously the band grew and expanded their sound, and still continue today.  This is the foundation.

3.5/5 stars

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