I thought it would prudent to post a mini-review today, lest some of you thoughtI had lost my mind earlier. What’s the date again?
BON JOVI – “Born To Be My Baby” (1988 Polygram 7″ single)
This single is a beauty. I bought this 45 at the Zellers store at Stanley Park Mall in Kitchener when I was a young fella. It doesn’t have any exclusive tracks — not even single edits which were very common on Bon Jovi 7″ singles. Instead it came in a collector’s package with cardboard picture sleeve, and three postcards.
The postcards are interesting to me for a reason. Look at the group photos of the band. Jon’s face is always obscured. These pictures from the New Jersey period represent a brief time when Jon was trying to give the band more face time. Check many photos from that era — his back is often to the camera while the others look straight ahead. I read a quote in a magazine where Jon was pissed that people only knew Richie Sambora as “the guy in the cowboy hat”. He was trying to give them attention and I think that’s cool.
The two tracks on the single are two of my New Jersey favourites! “Born To Be My Baby” was always a cool groove. I enjoy listening to Tico Torres’ drums on this track. Understated but perfect. But “Love For Sale”? Shit, I think that’s the best tune on New Jersey! Proof of the talent of this band, drunk or sober. Hard to imagine it was just something that happened and got recorded. It actually makes me a little sad today — sad that Jon and Richie have now broken up this amazing chemistry.
Fun single though! Glad to have kept it all these years.
HOLLYWOOD ROSE – The Roots of Guns N’ Roses (2004 Deadline)
Hollywood Rose were one of several bands that eventually morphed into the original Guns N’ Roses. Already on board were singer William Bailey (Axl Rose) and guitarist Jeff Isbell (Izzy Stradlin). Guitarist Tracii Guns (L.A. Guns) was in and out of the band. Drummer Johnny Kreis and guitarist Chris Weber were later replaced by Steven Adler and Slash respectively, who came in together via their old band. It’s a complicated tangle of ins and outs and interchanging members but what’s important is that Hollywood Rose did record a crucial five-song demo in January of 1984. This demo was finally released on CD in 2004 with 10 (!) remixes, and now we get to hear what Guns N’ Roses sounded like as a fetus in the womb!
Unfortunately this CD releases has been padded out by having each song in triplicate. Each track is presented as a) the original demo, b) a remix by Gilby Clarke, and c) a remix by Fred Coury. Cinderella’s Coury, you may recall, sat in with Guns N’ Roses briefly when Steven Adler broke his hand in ’88.
No mercy is to be had on “Killing Time”, an aggressive and ragged assault that foreshadows Guns greats such as “Reckless Life”. It’s similar in construction to “Comin’ Atcha Live”, a later song by Tesla. Axl is in vintage voice, not quite yet in control, but with all the power at his command. The Guns sound is already present on “Anything Goes”, later modified and released on Appetite for Destruction. The riff, later perfected by Slash, is already present and accounted for, although the verses are very different. The chorus is a little out of control, yet to be tamed into a singalong melody. What’s incredible is that the Guns sound was already there, waiting to be properly harnessed and unleashed upon the world. Izzy and Axl created that sound; it came originally from those two guys. Slash and the rest of the guys just had to add the finishing touches.
Track 3 is a Rose/Weber original called “Rocker”. A sloppy punk metal riff and a killer Axl lead vocal make for a passable tune. (I would love it if a reunited Guns would one day pull a “Van Halen” and remake these old unreleased songs…one can dream.) “Rocker” is more metal than you expect from Guns, but it has that sloppy, dangly cigarette vibe that the band embodied.
“Shadow of Your Love” was later re-recorded by Guns N’ Roses as a demo and released on the B-side to “Live and Let Die”. This is the original “Hollywood Rose” demo however, a more basic bare-bones version of the speed rock classic. The last demo is “Reckless Life”, better known as the opening track on GN’R Lies. It obviously evolved quite a bit as a Guns N’ Roses song, because this seems more like a skeleton of the song. It’s still breakneck fast, but the verse riff isn’t there yet.
These five songs indicated there was a cutting edge band here that needed to be heard. They could not have had the same success in this incarnation. They clearly needed Steven and Duff in the engine roof, and Slash laying sticky guitar toffee on top. The bones were already there, and it’s absolutely historic to hear these early demos of such important hard rock songs. The impact that they would have, as a foundation for something bigger, cannot be understated.
That said, as songs they still had a little ways to go, and I don’t think we really needed each song three times in one sitting. I’m not sure why Gilby was involved (except that he was in Guns N’ Roses too, from 1992-1994). I’ll be damned if I can pick out specific changes he made with his remixes, but most of the songs are different lengths so he obviously did stuff! Gilby did have Tracii Guns come back to Hollywood Rose and overdub new guitar solos for “Shadow of Your Love” and “Reckless Life”. These guitar overdubs do succeed in making the demos more exciting than they were. The Coury remixes are probably most notable for a distinctly different drum sound.
The Roots of Guns N’ Roses by Hollywood Rose is an essential collector’s item for any serious Guns fan. You don’t want to be without this. I just don’t think that two complete sets of remixes were necessary.
OZZY OSBOURNE/ROB ZOMBIE/IN THIS MOMENT live at the ACC, Toronto Ontario, 01/21/08, on the Black Rain tour
When you pay $100 a ticket you’d better get a hell of a show, no pun intended. While Rob Zombie rose to the occasion and put on the show of a lifetime, Ozzy Osbourne stumbled, carried only by his seasoned band and the love of a metal craving audience.
First up were newcomers In This Moment, who played a short 4 song set to a half filled house. Singer Maria Brink managed to get the crowd going even though most of them didn’t know there was a third band on the bill. Coming out in her trademark blue dress, and screaming her lungs out, I could not believe the power in this woman’s voice. The whole band was hampered by horrible sound which unfortunately rendered her screaming and singing unintelligible. However, at one point she let loose and screamed for a good 30 seconds straight…how she does this is beyond me, I sure can’t! In This Moment played their hit “Beautiful Tragedy” second-to-last and then revved up the audience to see Rob Zombie.
This was Zombie’s last night of the tour, and his crew played pranks on In This Moment through most of their set, however it was dead serious once Zombie hit the stage. Hidden by curtains, the audience could not see Zombie’s amazing stage set until the lights came up. And that was not to happen before we were treated to a surprise: Rob Zombie’s Grindhouse trailer “Werewolf Women Of The S.S.” starring Nicholas Cage as…FU MANCHU! (Zombie is considering making a full movie based on this trailer.)
Then the lights came up, dancing girls on either side of a giant devil head, and band roaring. The head cracked open and an adrenalized Rob Zombie emerged to “American Witch”! What an entrance.
John 5 was at the top of his game on guitar, playing with his teeth, behind his back, throwing his instrument all over the stage. For his guitar solo he even played a snippet of “Oh Canada”, but more on that shortly.
Zombie played all the hits with tons of syncopated pyro behind him, so much that you could feel it from the nosebleeds. “Dragula”, “Living Dead Girl”, “Thunderkiss ’65” and of course “More Human Than Human” were all played expertly, Zombie himself all over the stage at all times. He had ample video footage behind him, showing original film footage from House Of 1000 Corpes, The Devil’s Rejects, his own animation, and classic horror films such as Nosferatu.
Zombie’s crowning moment was during John 5’s guitar solo, at which point he grabbed two flashlights and headed into the crowd, all backed by John 5’s incredible shredding. I mean, come on folks…this is the guitar player that David Lee Roth chose to stand where Eddie Van Halen, Steve Vai, Steve Hunter and Jason Becker have stood.
The only thing wrong the whole Rob Zombie show is that there was so much going on at once, with the video screens, dancing girls, drumming robots, props, lights, and pyro, that you can’t see it all at once. I would like to see Rob Zombie twice or three times…difficult now that his tour is over!
A short break ensued, and then we were treated to some video footage courtesy of the Ozzman. It was a humourous medley of popular film and TV footage from the last year, all recut to star Ozzy himself! Imagine Ozzy in: The Queen. Or Ozzy under Azamat’s ass in Borat! It was good stuff, but unfortunately it underlined that the once and future singer of Black Sabbath has now become something of a joke himself.
Ozzy and his band (Zakk Wylde on guitar, Mike Bordin on drums, Blasko on bass, and Adam Wakeman on keys) then blasted through his first single from the new Black Rain CD, “I Don’t Wanna Stop”. A great opener, unfortunately hard to appreciate with Zakk Wylde’s guitar sounding so harsh in the ACC. Ozzy played most of the classics with very few surprises: “Bark At The Moon”, “Suicide Solution”, “Crazy Train”, “I Don’t Know”, “Mr. Crowley”, “Road To Nowhere” and “Not Going Away” from the new CD.
Ozzy’s problem, both as a solo artist and with Black Sabbath, is his unwillingness to change his setlists. While I’m sure everybody there would have died and gone to heaven if Ozzy played a song like “You Can’t Kill Rock And Roll” or “Diary Of A Madman”, his setlist was based almost entirely around his Blizzard of Ozz and No More Tears CDs. Too predictable, Ozzman. His other problem is his lack of range. His voice cracked many times, and the band lowered the key for him the old songs.
A few disappointing choices: Ozzy did not play “No More Tears”, but instead treated us to the overrated “I Don’t Wanna Change The World”. And for an encore, yes, of course…”Mama I’m Coming Home”. Shame about that, as there are so many better songs to play. “Mama” sure did get the cigarette lighters out [see picture below].
Zakk Wylde did a ridiculous 10 minute guitar solo, which sounded mostly like razorblades coming at your ears. He too played with his teeth, but it was only when he quoted Randy Rhoads’ classic “Suicide Solution” live solo that sparks flew.
As a last song, of course, Ozzy played “Paranoid”. He had to. He couldn’t show up and not play any Sabbath material, although “Iron Man” and “War Pigs” didn’t make his short set. Shame, considering that he reminded the audience that Toronto is where he recorded Never Say Die.
In the end, we all got tired of Ozzy’s endless “I can’t fucking hear you” and “Go extra extra extra crazy!” When Ozzy shouted “I still can’t fucking hear you” for the 100th time, people started responding, “Because you’re fucking deaf”!
There was no question that Ozzy came, saw, and conquered because of his excellent band and the love that the crowd had for him, but it was also obvious that this was Rob Zombie’s show, and there was nothing Ozzy could have done to change that, aside from bringing Randy Rhoads back from the dead.
In This Moment – 3/5 stars
Rob Zombie – 5/5 stars
Ozzy Osbourne – 3.5/5 stars
I have never liked Angry Machines. Right from the moment it came out, to today, I do not like Angry Machines. It’s not because I don’t like this Dio lineup. I’m quite fond of the Strange Highways record, which features the same band (Jeff Pillson – bass, Vinny Appice – drums, Tracy G – guitars). Given my fondness for that previous record, and the awesome cover art emblazoned upon Angry Machines, I was looking forward to this album. Now, all these years later, even cranked to max volume it has failed to grow on me and remains my least favourite Dio album by a fair margin.
When Dio gets his hands on a treacherously slow heavy metal song, he can sometimes wring great things from it. Angry Machines, however, is bogged down with many agonizingly slow, soundalike trudgy songs. The opener “Institutional Man” almost resembles Born Again-era Sabbath at times for sheer slow chug, but it lacks any sort of hooks. Ronnie is bellowing as incredibly as he always has, but he’s grasping for a melody to hang his powerful voice on. The saving grace is a razor sharp guitar solo by Tracy G.
Thankfully “Don’t Tell the Kids” is a speed metal rocker. I didn’t expect Ronnie to take it to Motorhead tempo, and that’s cool. Lack of hooks is the problem again, so you’re left with little but the smoking instruments to carry you through. MVP: Vinny Appice who has never sounded so lively!
The disc gets stuck in the mud after “Don’t Tell the Kids”. The atonal “Black” doesn’t do anything for me, although I do admire the stripped-back production (by Ronnie and engineer Wyn Davis). I dig Jeff Pilson’s bass hook on “Hunter of the Heart”, and the chorus is pretty good, but the song is mostly forgettable. Then is the slow and boring “Stay Out of My Mind”, a real snooze. A 7-minute snooze with an extended keyboard segue! Continuing with the mind control theme, “Big Sister” isn’t much to write home about either, except in terms of Vinny’s relentless sticks.
“Double Monday” has cool acoustic segment, very unlike typical Dio. Unfortunately this one section does not save the song which is otherwise dreary and grating. Up next, I enjoy the vintage groove of “Golden Rules” but again there’s not much of a song here. Same goes for the penultimate track “Dying in America”.
You may already be familiar with the best song on Angry Machines, a piano ballad called “This is Your Life”, that was re-released on the 2014 tribute album of the same title. When I reviewed that excellent CD, I had this to say of “This is Your Life”:
Fittingly, the album ends on a ballad: Dio’s own somber “This Is Your Life”, performed by the man himself in 1996. I did not like the Angry Machines album, but if there was one song I would have picked as a highlight it would be “This Is Your Life”. Performed only by Dio and Scott Warren on piano, it is unlike anything else in Dio’s canon. The lyrics speak of mortality: “This is your life, This is your time, What if the flame won’t last forever? This is your here, This is your now, Let it be magical.”
The always lucky Japanese fans received a bonus track with the cool title of “God Hates Heavy Metal”. Although I am intrigued I have not been motivated enough to search it out.
RECORD STORE TALES MkII: Getting More Tale #380.5: ThankYou!
Thanks to you, the reader, for joining us this week for THE BEST FUCKING COLLABORATION WEEK EVER! All week, Aaron and I reviewed the same discs, and it was a ton ‘o fun. You got two reviews for the price of none each day! On Tuesday, Aaron’s gracious co-host over at the KeepsMeAlive, James, joined us to review Danko Jones’ Born a Lion CD! A big thanks to Aaron and James for a very fun week.
Due to the great reception, I have a feeling this will happen again, with an even larger field of participants. We shall see.
Below you will find links to every installment. Be sure to check ’em out, especially since you don’t want to have to read my crap all the time. Enjoy!
For today’s installment of THE BEST FUCKING COLLABORATION WEEK EVER, Aaron and I are actually reviewing different albums. Sort of. He’s doing Pure Cult: For Rockers, Ravers, Lovers, and Sinners. I’m doing Pure Cult: The Singles 1984-1995. Same album, different versions thereof with slightly different tracklistings. Dig in!
THE CULT – Pure Cult: The Singles 1984-1995 (2000 Beggars Banquet)
The original 1993 Pure Cult was great. It didn’t need to be updated only seven years later, but given the chance to remaster and repackage something must be irresistible to cigar-chewing execs.* The remastering ushered in a series of Cult reissues, coinciding with a reunion tour. There was also an issue with an unauthorized UK compilation from 1996 called High Octane Cult. That CD, which contained an exclusive new song called “In the Clouds”, was discontinued and replaced by this new Pure Cult, which re-released “In the Clouds” on its tracklist.
“In the Clouds” is a smashing song, heavy as a really heavy thing, from 1995. It was recorded for a potential followup to 1994’s The Cult, but released on High Octane Cult when the band split up. The sound points towards the heavy metal direction of 2001’s Beyond Good and Evil. The hard hitting snare of drummer Garret is deliciously snappy. Although “In the Clouds” isn’t particularly memorable on its own, I love when the Cult go really heavy. That makes this an unsung classic.
As for Pure Cult: The Singles, “She Sells Sanctuary” still opens affairs as it did on the old Pure Cult. It remains as shimmery as it was in the glow of the 1980’s. Ian’s irresistible howl doesn’t remind me of Morrison one bit actually, but let’s not forget Billy Duffy and his big white Gibson. Duffy has always been about his guitar sound, which changes from album to album. It seems his guitar sets the tone for the album, and “She Sells Sanctuary” benefits from his echo-laden Edge-isms.
The first six songs on the CD are the same running order as the original. I have always been fond of the Cult’s Sonic Temple period, and “Fire Woman” has aged remarkably well. Say what you will about Bob Rock, his production has stood up on this track. Back then, he was trashed for glossing up the Cult’s sound too much. By today’s standards, this is a sparse production! But if you like it basic, “Lil’ Devil” produced by Rick Rubin is excactly what you need. The Electric period is universally celebrated by Cult diehards as a high point, and you can see why on “Lil’ Devil”.
I dig Dreamtime‘s “Spiritwalker”, but I think “The Witch” is really cool. Produced once again by Rick Rubin but going in a completely different direction, “The Witch” brought electronic dance beats to the Cult giving them an industrial edge. “The Witch” was released on the soundtrack to a movie called Cool World in 1992, but it received wider exposure the following year on the original Pure Cult. Regardless of a strong chart performance for the song, the Cult chose not to go with Rick Rubin for their next album and instead returned to Bob Rock! “The Witch” remains a cool experiment and a great song.
Love‘s “Revolution” is still one of my favourite Cult ballads, and it helps you come down from the rush that is “The Witch”. The “Love Removal Machine” and “Rain” keep the classic momentum brewing, but this is the first deviation from the original Pure Cult running order. “Wild Hearted Son”, a hard rocker from 1991, has been moved to the end of the album, though it originally fell after “Revolution”. Then “In the Clouds” takes us fully into heavy modern Cult territory. 1994’s “Coming Down (Drug Tongue)” represents the alterna-Cult that responded to the grunge onslaught. These two newer songs don’t replace any others at this point on Pure Cult; rather they are inserted between “Rain” and “Edie (Ciao Baby)”. Ceremony‘s “Heart of Soul” follows “Edie” for over eight minutes of power balladry, but since it’s The Cult we are going to let it slide.
The song “Love” has been deleted from the running order, and we go straight into the classic “Wild Flower”. Every bit as good as “Love Removal Machine”, these hits are still slamming today. “Star” from 1994 is unnecessarily inserted into the track list here, a forgotten single that nobody really cares about. “Go West” and “Resurrection Joe” from Dreamtime are flipped in order; now “Resurrection Joe” comes first. I like the jittery early Cult, but it’s stunning how they change from album to album. “Sun King” is an interesting choice from Sonic Temple, though I do love the song, it wasn’t that well known as a single. “Wild Hearted Son” is dropped in here, in single edit version without the intro. Finally “Sweet Soul Sister” closes the CD, in its music video mix which is a nice track to have since it wasn’t even on the CD single. Unfortunately the original ass-kicking closer “Earth Mofo” has been deleted! That is truly a shame, since it is such a rush of a rock song.
Ultimately Pure Cult: The Singles 1984-1995 has one more track overall compared to the original release. Unfortunately I don’t think it’s quite as good.
4.5/5 stars
*This CD was followed by the release of the 7-disc box set Rare Cult (a review of which is coming this year), and a compilation called Best of Rare Cult!
My very first THREE-WAY (review)! For today’s installment,Aaron AND James from the KMAand I are all reviewing the same disc. Check out all three reviews!
How fucking cool is Danko Jones?! I love this Torontonian rock idol, just as much as Danko himself loves the Rock. His enthusiasm for hard rock and heavy metal is contagious. His music basks in it. You can hear his passion for the Rock in the grooves. He’s incredibly prolific, and monumentally talented as a writer, singer, and guitar player. The band itself (also called Danko Jones) is just a trio, so he has a lot of bases to cover and he does it with aplomb out the wazoo.
I don’t own all the Danko records (and I don’t know anybody who does) but of the ones I have, the debut long-player Born a Lion is still my favourite. It was a favourite back in the Record Store days too, receiving daily store play as a new release. Joe “Big Nose” felt that Danko was as close as anybody had gotten to the vibe of Thin Lizzy since Phil Lynott. I wouldn’t necessarily agree with that fully, but I see what he was getting at.
The swampy blues guitar that opens “Play the Blues” is just a feint. This is a slamming, heavy rocking blaze. “If you wanna know how to play the blues, get yourself a woman! YEAH!” howls Jones. It’s an adrenaline shot to the heart, eyes ablaze as “Play the Blues” tears from the speakers. “Pick it sweet! Slide it slow! WOO!” Jones unleashes a killer solo as you reach for your asthma inhaler!
If you’re not hooked by now, then you probably don’t like rock and roll. “Lovercall” was the single, for which a killer video was made. Getting into a groove this time, Jones instructs us on how to pick up a lady.
You see when I was growin’ up… I got the inside scoop, I used to watch all the older fellas work down the block, that’s right when they used to work I used to watch, and when I watched I learned… The Lovercall, baby!
Danko Jones has a way of using his sassy spoken word verses to maximize the cool factor, before sliding into a chorus that you can sing along to. “Lovercall” is the best example of this.
So are you in or are you out? That’s all Danko needs to know on “Sound of Love”. Not as mindblowing as the first two, it’s still a swaggering confident rock song based on a solid groove. “Every time you see her, she’ll get a little hotter,” whispers Jones, and you certainly believe him because he sure does sound like an expert in such matters. “Now where the pretty girls at? ‘Cause I’m the man with the black hat.” There you go. Free advice from Danko – black hats are in, but he says it with so much swagger that you have to believe there are some serious mysteries of the universe opening up before us!
“Papa” is the song from which the title Born a Lion was derived. “I was born a lion, and like a cat I’m gonna dance.” Sure, Jones has only one thing on his mind, but who gives a fuck? I ain’t leaving now; I’m sticking around for the Rock. “Soul on Ice” has a mean AC/DC prowl that could have fit on an album such as Black Ice.
“Word is Bond” is dynamite up the ass with no fuse! The energy is unbelievable, and Danko’s swagger is always intact. When he says “If you want it, I will do it — my word is my bond!” I believe him. This is another AC/DC rocker, and it absolutely tears up the joint, leaving nothing but rubble and ashes. But Danko Jones will survive like a cockroach and live on to meet more ladies, as he does on “Way to My Heart”. Don’t let the title fool you, this ain’t no Warrant or Whitesnake ballad. Nope, it’s all rock and groove and balls. “Let’s go on the side of the road, I can be your Romeo.” There’s no romance here, it’s sheer lust.
Racial diversity is the theme on “Caramel City”, the first time Danko’s not singing about girls on this record. It’s kind of a weird chorus (spelling out the word “C-A-R-A-M-E-L”) but it’s good enough for me. “Get Outta Town” is more fun, another blazing fast rock groove. It’s infectious, but I don’t believe him when he sings, “All the girls got boyfriends, but man I don’t got a girl.” Sorry Jones. I’m not buying it.
More ass-kicking transpires via the speakers on the chugging “Suicide Woman”. How much more ass-kicking? A lot, as “Suicide Woman” follows the general template of smoking from start to finish. Danko keeps the guitar solo to the basics because let’s face it, we just wanna rock at this point. Concluding the proceedings is the incredible “Love is Unkind”, quite possibly the most smoking-est track on the record.
Let’s be blunt. Danko Jones’ schtick can wear thin, but the album isn’t long. You either like this band or you don’t. I like this band. And I love Born a Lion.
5/5 stars
Final note — some editions have two bonus tracks. I intend to find them.
Final final note — my copy came with a Danko Jones sticker that I still have. I wonder if Aaron and James have theirs?
All week, Aaron over at theKeepsMeAliveand I will be colluding. Monday to Friday, we will be talking about the same CDs. He hasn’t read my reviews, and I haven’t read his. Today, we’re both discussing Quiet Riot‘s landmark Metal Health. Be sure to check both reviews each day this week!
QUIET RIOT – Metal Health (1983, 2001 Sony remastered edition)
While my first rock album ever was Kilroy Was Here, by Styx, my first metal album ever was this one: Metal Health, by Quiet Riot. Although I was really into Styx, Quiet Riot were the first band that I “loved”. Some music that people liked when they were in grade school embarrasses them today that they ever owned it. Not me, not this album. Since buying it in ’84, I’ve owned this album on cassette, LP and twice on CD. And I’ll probably buy it again; I understand there is a more recent reissue out with more bonus tracks. Metal Health was the crucial cornerstone in my musical development, and always will be one of my all-time favourites. Read on!
The opening drum crash to “Metal Health”, sometimes also referred to as “Bang Your Head (Metal Health)”, instantly transports me back in time. Chuck Wright played bass on this one, extra slinky and funky (although Rudy Sarzo plays on most of the album). Suddenly I’m in the basement at my parents’ house, listening to this cassette on my old Sanyo ghetto blaster. I still recall, the cassette shell was white. I played the crap out of it, annoying everyone.
“I got a mouth like an alligator” sings lead howler Kevin DuBrow, and how accurate he was. I had no idea that Kevin’s mouth would cause the band to oust him only a few years down the road. I liked the attitude of the lyrics, and the aggression of the guitars. Impossible to ignore was new drummer Frankie Banali, who to this day is an absolute ballcrusher of a hard rock drummer. His metronomic groove on Metal Health gave it the drive. I wouldn’t have been able to break it down and articulate it like that when I was a kid, but these are the factors that attracted me to the song.
“Cum On Feel The Noize”, the Slade cover, is now more famous than the Slade original or Oasis’ version for that matter. It’s a great tune, but Quiet Riot and producer Spencer Proffer nailed the sound and the vibe. The gang vocals are irresistible. The cover was a huge hit, but it painted them into a corner.
Much like my first rock purchase Kilroy Was Here, there were songs I liked and songs I hated. I don’t think I was the only 12 year old kid who didn’t have the patience for ballads. Girls? Who cares! So I also hated “Don’t Wanna Let You Go”. I wasn’t obsessive about listening to whole albums back then, since I was brought up in the LP age where we just dropped the needle. So I often fast-forwarded through “Don’t Wanna Let You Go”. Or we would play side one of the cassette, rewind, and play it again. (“Don’t Wanna Let You Go” was on side two of the cassette version). Shortly after I suddenly noticed girls were EVERYWHERE, the song started to click with me. Its sparse arrangement driven by Frankie’s drums make it a really special song. Carlos Cavazo’s guitar solo had melody and composition to it, and drew my attention to the fact that a guitar solo wasn’t just a 30 second bore, but a micro-structure within the song, like a song all its own.
“Slick Black Cadillac” is a remake of a song from the second Quiet Riot album (cleverly titled Quiet Riot II) although we didn’t know that at the time. “Slick Black Cadillac” is simply a classic today, and even though there isn’t a Randy Rhoads writing credit on it, you can hear the echo of his influence in Carlos’ guitar fills. The lyrics to this song are so catchy, and soon you too will be singin’ about those solid gold hubcaps. I was attracted to songs that told a story, and the rudimentary story here is a guy in a Caddy runnin’ from the “coppers on his trail”. There’s no Dylanesque poetry, and DuBrow was never a crooner. This is about loud guitars and drums, a singer who is screaming his face off, and songs about cars and rocking!
You know I got a fully equipped rock ‘n’ roll machine, At speeds that take me high, high, high, At dead man’s curve, I only hear one word, drive, drive, drive!
Love’s A Bitch” is less successful but it has a mournful quality that isn’t bad. “Breathless” is better, a fast rocker featuring Frankie’s breakneck but steady pounding of the skins. Following at the same pace, “Run for Cover” is just as furious, but lacking in melody. Carlos Cavazo’s guitar showcase “Battle Axe” used to precede “Slick Black Cadillac” on my cassette version, which it was perfectly suited for. On the original LP and the CD, it opens “Let’s Get Crazy”. Because the running order of the cassette is permanently branded into my memory, it’s hard to get used to. “Let’s Get Crazy” is goofy, seemingly an attempt to have another song like “Metal Health” on the same album. As such it’s filler.
Finally there is “Thunderbird”, the piano-based ballad that Kevin wrote for the late Randy Rhoads. Didn’t like it then, love it today.* It’s a beautiful song and maybe the best thing DuBrow’s ever written. It’s cheesy as hell, but who cares? The heart is there.
CD bonus tracks include a fun live take of “Slick Black Cadillac” (complete with DuBrow’s “vrroooom, vrrrrroooom!”) taken from a radio promo release. Also present is “Danger Zone”, an outtake that is not quite up to the album standards, but certainly close. Remastering is loud and clear, and liner notes are informative enough.
Enjoy. Doesn’t matter if it’s 1984 or 2015, this is a great album.
4.5/5 stars
* When we were kids, my sister and I used to play ‘air bands’ to this album. I’d always make her sing “Thunderbird” while I would get the ‘better’ songs!
A lot of “modern” and not a whole lot of “vintage”
SIXX:A.M. – Modern Vintage (2014)
I was a fan of Sixx:A.M. when they first came out with The Heroin Diaries in 2007. At the time the music was fresh and just what I needed. I was in high school and going through difficult times and things teenagers go through. I was already in love with Motley Crue for a few years at that point. Then when Nikki Sixx came out strong with Sixx:A.M., I respected him even more as he was now in two bands that l loved.
I thought Sixx:A.M. had everything going for them; a great single, excellent songwriting and I could identify with the music and some of the lyrical content. The accompanying book also made for a wonderful experience. I enjoyed the band’s second album and bought it on release day in 2011. I liked a lot of that album and its accompanying book even though l felt it wasn’t as impressive as the first. I stayed a fan and continued following the band anticipation their next release. 2014 rolls along (which shows this review is a bit overdue) and hence we have Sixx:A.M.’s third studio album, Modern Vintage.
The album begins with “Stars”, a very good indication of the album’s overall sound, style and feel. To me it’s average at best; it’s not unlistenable but it doesn’t grab you in the way it intends to. It has “made for radio” all over it. “Gotta Get it Right” is the first single and didn’t do anything to encourage me to pick up the album. I can get the over almost Christmas-like feel it has but I think where they fail lies in the chorus.
“Relief” is straight ahead rock and with its lyrical theme sounds more like the Sixx:A.M. of the past. “Gotta Get You Some” is a twist and a nice change of pace with its acoustic guitars before kicking it into high gear for the chorus. It too has a very commercial ready for radio feel, only slightly darker. I’m not in love with this song but James Michael does a very good singing performance.
“Let’s Go” and “Give Me A Love” are probably the closest to heavy rock tracks on here (and to the sound of previous Sixx:A.M.). “Let’s Go” is especially a true fist-pumper and a highlight. “Drive” is a an awful cover of the same song by The Cars. It sounds dull and the electronic euro pop in the background makes it unlistenable. The guitar work is the only good thing about it. “Hyperventilate” is nice and short, one of the better songs on Modern Vintage. “High On The Music” sounds like a terrible young pop band and not like Sixx:A.M. or a rock band, going for that radio hit feel-good type song. “Miracle” has cool groove and a vintage feel to it, on the other hand it also honestly sounds like a Maroon 5 tune. “Before it’s Over” has a jazzy/lounge feel to it, which I give them credit for trying to branch out.
I’m not sure what I was expecting out of Modern Vintage or if I was expecting anything at all to be honest. I loved the first album, liked the second and bought the third out of loyalty and because I thought there’d be at least a few songs l liked. I wasn’t terribly into the first single but I didn’t let that discourage me. Well I’m sad to say that after multiple listens it’s a bit underwhelming. The songs don’t “rock” as hard and sound more mainstream and bland; that is both musically and lyrically. The songs are more ‘happy’ this time around. In theory this should work but it doesn’t. There’s no anger, no frustration, desperation, none of what made Sixx:A.M.’s core on the first two albums. I’m actually surprised to see so many high ratings and reviews praising the album everywhere. Maybe we didn’t listen to the same Sixx:A.M. band previously, I don’t know. All l know is what I hear and this album just doesn’t do anything for me and I don’t enjoy the direction they went in. A lot has been said about the drum sound which feels artificial and I agree, it just doesn’t work all that well this time around.
Modern Vintage ends up sounding like a lot of modern and no vintage. Alas I am not a hater. It pains me because I’m a Crue fan, a Sixx:A.M. fan and a Nikki Sixx fan and l really wanted to enjoy it. It just feels less inspired than the first two and even though it has a different sound it doesn’t break any new ground. It tries to hard to go for the commercial radio songs and it’s like they forgot who they where. Hopefully they’ll get it back and deliver another good album. In the meantime this is terrible.
1.5/5 stars
[LeBrain’s note: I’ve listened to the album, and I agree with Tommy 100%. In fact, my review can be found below.]
RUSSIAN BLUE – Russian Blue demo #1 (1990), demo #2 (1991)
Russian Blue were a Toronto hard rock act fronted by the talented Jo E. Donner who, in a perfect world, would have been signed to a major label deal had not the roof caved in when grunge arrived. They first rose to national awareness as part of the legendary Raw M.E.A.T Vol 1 compilation of Canadian indi rockers. Upon hearing that first song, “Once a Madman”, I was immediately hooked on this band! Donner had the pipes (often compared to a young Robert Plant) and the looks (also Plant), and the band clearly had the writing chops to crank out at least one world class rock song. Its slow build was unusual in hard rock at the time, as was the lack of an actual chorus. I had to hear more, so I wrote the band and ordered a tape.
Demo #1 (1990)
The first self-titled tape came in a professionally printed three colour J-card, with printed stickers on a white cassette. Pretty pro for the time. The J-card itself is a three panel fold out, with a black and white photo of the band and lyrics too. Four songs, same both sides. Let’s give’r.
The familiar tamborine and guitar licks of “Once a Madman” open the first tape. M.E.A.T editor Drew Masters always advised bands submitting demo tapes to keep it short (three to five songs), professional looking, and top-loaded with the best songs. Someone listening to a tape was likely to hit eject after the first half of the first song if they weren’t feeling it. Russian Blue must have been paying attention because they hit all three marks. (Masters’ other major beef with bands was not listing the song titles, the name of the band, or any contact info on a demo tape!) The second strongest song “Likkin’ Dog” (ugh, come on, spelling) is suitably next in line. Digging into a heavy groove and solid riff, I’m reminded of early Skid Row or Guns N’ Roses. Donner truly had the voice of a rock star. The other members (guitarist Richard Gauci, drummer Mike Willerding and bassist “Robo”) are also up to the task. Gauci in particular boasts an impressive arsenal of tricks and licks for a guy you’ve never heard of before.
“Miss Precocious” enters with the same drum drum hook as “Dirty Weapons” by Killer Dwarfs which came out earlier that year. Coincidence or inspiration aside, it’s a demo so it’s not a big deal. “Miss Precocious” is an OK sleaze rocker that David Coverdale would have been comfortable taking a spin with. This could have been on Slip of the Tongue as one of David’s randy odes to young ladies. The generic “Had Enough” is the weakest of the four tracks, and is last on the tape for that reason.
A brief history of M.E.A.T Magazine
Demo #2 (1991)
Russian Blue added me to their mailing list and sent updates as to their current goings-on. A second demo tape with four all-new songs was put up for sale and I ordered mine forthwith. I was disappointed that the second demo didn’t come as professionally packaged as the first, but I suspect that the band spent all their money on that first tape and the spot on Raw M.E.A.T Vol 1. The second tape came in a hand-made J-card with a photocopied band photo on the front and a sticker with the song titles inside. Unfortunately the second song is misspelled “Balck” (“Black”) and this carried over to the sticker on the cassette shell as well. The tape, a TDK D50 (50 minutes was a specialized length) was of good quality and has the same songs on both sides. The tape also came with a little Russian Blue paper logo. At least they tried.
The second demo showed the creeping influence of darker alternative tendencies. “Mama’s Love” was different from anything on the first demo, taking a swampy minimalist approach to the verses. When Donner rips out some rock shrieks, things kick up on a notch or two on the chorus. The song is almost equal to “Once a Madman” in terms of quality, but traversing a different more menacing direction. Keeping the stronger tunes up front, “Balck”…err, I mean “Black” is second in quality. It opens with a psychedelic lullaby-like opening, before creeping into another swampy groove. The vibe is nastier, including the first “F-bomb” of the album: “Nothing lasts forever, except the words to this fuckin’ song.” It’s a good track and though it didn’t really last forever, it did get re-worked into “All”, a song on Russian Blue’s only full length CD, after they changed their name to Feel. The album was called This (1994).
“Child of the Ocean” has a drony, spare riff and a cool exotic sounding guitar solo by Richard Gauci. It continues Russian Blue’s journey into less mainstream sounds, as this is a dreamy rocker. The final song, which is the F-bomb laden “Bleed”, is the most old school. This one is basically a Guns N’ Roses B-side wannabe, but who gives an F-bomb? Russian Blue had ability to pull of a ballsy song like “Bleed”, false ending and all, without sounding like douchebags. Good on them.
In closing
A few years back, I posted a chapter of Record Store Tales (Part 146) about my cassette collection called Cassettes Part II – The Indi Years. I showed off these old Russian Blue tapes, and less than a month later, a fellow enthusiast found the post and contacted me. He was really excited about this second demo, because he had never seen it nor even heard of it before. He didn’t know that Russian Blue had anything out between the first demo tape, and Raw M.E.A.T Vol 3 (1992), to which they contributed “Mama’s Love”. It’s always a pleasure to be able to bring content like this to the internet, finally shedding light on the dark crevasses of rock and roll that were previously obscure. The reader told me, “I was really into these guys back in high school. I pretty much bought a cowbell because of ‘Once A Madman'”. How awesome is that?
Given that you have to allow for certain deficiencies in demos, especially from the cassette era, I am giving Russian Blue a grade based on the reasonable expectations from the period. That considered, the Russian Blue demos come in at:
mikeladano.com 