I missed their first EP, Name Your Poison. None of the local record stores knew who Little Caesar were, but rock magazines like Hit Parader were already tootin’ their horn. When their major label debut Little Caesar hit the shelves, it was none other than Bob Rock in the producer’s chair. “Chain of Fools” was selected for the lead single/video, which was probably a mistep. It did show off Little Caesar’s knack for crossing Skynyrd’s southern rock innards with soul, but a more mainstream rocker like “Down-N-Dirty” would have been less of a shock to the uncultured longhairs of 1990.
Soulful blues rock was all the rage in 1990, with the likes of the Black Crowes and The London Quireboys hitting the charts. Was Little Caesar just one too many bands? They didn’t have the impact of the other two, though they certainly stacked up in the quality department. Lead howler Ron Young’s lungs are enviable, with a southern gritty drawl and authenticity to go.* The rock continues through “Hard Times”, which puts out a killer street rock vibe, able to tangle with any Hollywood competition. “Chain of Fools” serves to show off Young’s limitless talents, but as a hard rock adaptation, falls shy of their original.
Diversity points are earned for a stellar ballad called “In Your Arms”, delivering on a solid soul vibe. Young’s voice is the focus, revealing depth track after track. There’s a darker turn on “From the Start”, foreboding but with anthemic chorus. The first side’s closer puts you in a “Rock and Roll State of Mind” with a harmonica-inflected blues burner.
Gotta big monkey and he’s on my back, It’s warmer than China, it’s better than crack, It’s burnin’ like fire, it’s takin’ my soul, yeah, So damn addicted to rock ‘n’ roll.
You may as well call this one my theme song. The history of rock is delivered in under five minutes.
White boys stole it back in ’55, Turned in to disco in ’75, Said it all started with “Blue Suede Shoes”, yeah, For years brothers called it just rhythm and blues.
Tell it how it is, brother!
Money can’t buy it ’cause it can’t be sold, If you say it’s too loud, then you’re too fuckin’ old.
Flip the tape. “Drive it Home” takes the car/sex metaphors to a dirtier level. On, Ron, I bet you’d like to drive it home! Another dusky ballad called “Midtown” changes the mood and the groove. A ballad with balls and a banjo? Then, “Cajun Panther” is its own descriptive, but the slippery guitar will hook you right in. Greasy slidey goodness from Creedence county. The next song, “Wrong Side of the Tracks” is actually closer to the mainstream and doesn’t stand out amongst more unique material. Unique like “I Wish It Would Rain”. It may be another ballad but its southern flavouring make it clearly different from anything on the radio in 1990. “Little Queenie” nails the soul-rock vibe one last time, going out in style, but also with a song that doesn’t really sound like a closer. Perhaps a little song shuffling would have put “Little Queenie” in a better spot to showcase its strengths.
Sonically, since this is a Bob Rock production, you already know what it sounds like. It’s a big sounding album that captures the band in top shape and presents them in an appropriately dressed frame. It’s a 12 track album and although that was becoming the norm, Little Caesar would have been a more effective debut if it were 10 songs, focusing on the ones that made it unique.
3.5/5 stars
* Tragically, Ron Young was killed in 1991 by a time-travelling Arnold Schwarzenegger, in Terminator 2: Judgement Day. ** ** Fake News. But he was in the movie and did get his ass kicked.
WHITESNAKE – Slip of the Tongue(originally 1989, 2019 (6 CD/1 DVD 30th Anniversary Rhino box set)
There’s a theme you may have noticed every time we review a Whitesnake box set: David does it right.
Here’s another one: Coverdale cares.
Slip of the Tongue gets the super-deluxe treatment this time, the third of the “big three” to go that way. This is the album that divided fans the most. Replacing Vivian Campbell was none other than ex-David Lee Roth stringbender Steve Vai.
“What the hell would that sound like?” we all wondered.
Longtime Whitesnake fans felt it was a step too far into the world nebulously defined as “hair metal”. Others loved the guitar mania inside, with Vai stretching out in ways different from his prior bands. Not the “definitive” Vai record that they still wanted (and would get a year later), but certainly a platter they could sink their teeth into. And it was a weird reason that Steve was playing on Slip of the Tongue at all.
As you’ll see from a feature on the included DVD (“A Look Back: Whitesnake Chronicles with DC and Adrian Vandenberg”), the album was written and thoroughly demoed with Adrian. They wouldn’t need a guitarist until it was time to tour. At this point, Adrian injured his wrist and was unable to finish. Steve Vai and David Coverdale found that they got along famously and the seven-string wizard brought his unique and advanced stylings to the blues-based Whitesnake.
What the hell would it sound like?
It sounds absolutely mental.
With the benefit of now hearing all the demos that Adrian laid down, it’s obvious Steve Vai didn’t just pick up his guitar and play the parts. It’s clear right from opener “Slip of the Tongue”. Compare the album to Adrian’s demos on the other discs. Vai changes one of the chord progressions to high-pitched harmonics, and, let’s face it, improves the song. Elsewhere there are unique trick-filled runs and fills that add another dimension to the music. If Whitesnake was always 3D rock, Vai upped it to 4. The guitar work is blazingly busy, never cliche, and always to the advancement of the song. With all respect to Adrian Vandenberg who wrote these great songs, Steve Vai was more than just icing on a cake. Slip of the Tongue arguably sounds more a Vai album than Whitesnake, even though he didn’t write any of it.
The beauty of this set is that if you’re more into ‘Snake than alien love secrets, you can finally hear the purity of Adrian’s vision in the multitude of early demos included.
Unfortunately, if you’re familiar with the album you’ll hear something’s up by track 2. “Kitten’s Got Claws”? That song used to close side one. What’s up? The album running order has been tampered with, and so has “Kitten’s Got Claws”. It’s now missing the Steve Vai “cat guitar symphony” that used to open it. It could be a different remix altogether. My advice is to hang on to your original Slip of the Tongue CD. You’re probably going to still want to hear the album and song as they were.
This running order puts “Cheap An’ Nasty” third, a song that structurally resembles the ol’ Slide It In Whitesnake vibe. Of course Vai’s space age squeals and solos modernized it. Listen to that whammy bar insanity at the 2:00 mark! Up next is “Now You’re Gone”, a classy rocker/ballad hybrid that has always been an album highlight. The demos on the other discs allow us to hear how much this song was improved in the final touches. That cool answering vocal in the chorus, and the hooks that Vai added, came much later. Strangely, this box set puts the other ballad, “The Deeper the Love”, up next. Keyboard overdubs made it a little too smooth around the edges, but a good song it remains.
The Zeppelinesque “Judgement Day” is a track that used to piss off some fans, who felt it was an abject rip off from “Kashmir”. The Vai touch of sitar (replacing guitar in the early demos) probably aided and abetted this. Regardless it succeeds in being the big rock epic of the album, and a favourite today. Another strange choice in running order follows: “Sailing Ships”, formerly the album closer. It’s quite shocking to hear it in this slot. Again, Vai replaced guitar with sitar, and David goes contemplative. Then suddenly, it gets heavy and Steve takes it to the stratosphere.
“Wings of the Storm” used to open side two; now it’s after “Sailing Ships”. Some tasty Tommy Aldridge double bass drums kick off this tornado of a tune. Vai’s multitracks of madness and pick-scrapes of doom are something to behold. Then it’s “Slow Poke Music”, a sleazy rocker like old ‘Snake.
The new version of Slip of the Tongue closes on “Fool for Your Loving”, a re-recording of an old classic from Ready An’ Willing. The new version is an accelerated Vai vehicle, lightyears away from its origins. Coverdale initially wrote it to give to B.B. King. Vai is as far removed from B.B. King as you can imagine. The original has the right vibe, laid back and urgent. This one is just caffeinated.
The only album B-side “Sweet Lady Luck” is the first bonus track on Disc 1. By now it is the least-rare B-side in the universe, having been reissued on a multitude of Whitesnake and Vai collections. Valuable to have to complete the album, but easy to acquire. It’s basically a second-tiered speed rocker with the guitar as the focus. Other B-sides from this era were remixes, and they are included here as well. The Chris Lord-Alge mix of “Now Your Gone” is the kind that most people won’t know the difference. Vai said that Lord-Alge could make the cymbals sound “like they have air in them.” Then there’s the “Vai Voltage Mix” of “Fool for Your Loving”, which has completely different guitar tracks building an arrangement with way, way, way more emphasis on the instrument. The rest of the disc is packed with four more alternate remixes: “Slip of the Tongue”, “Cheap An’ Nasty”, “Judgement Day” and “Fool for Your Loving”. These mixes have some bits and pieces different from the album cuts. Vai fans will want the alternate solo to “Cheap An’ Nasty”, though it’s less whammy mad.
Of course, “Sweet Lady Luck” wasn’t the only song that didn’t make the album. In old vintage interviews, Coverdale teased the names of additional tracks we didn’t get to hear: “Parking Ticket”, “Kill for the Cut”, and “Burning Heart”. They’ve been safely buried in Coverdale’s vault, until now. Additionally, it turns out that Whitesnake also re-recorded a couple more of their old songs: “Ain’t Gonna Cry No More” and “We Wish You Well”. They’re all here in different forms on the demo discs.
Perhaps “Kill for the Cut” would have been one dirty song too many for the album. It ain’t half bad, and has a unique little bumpin’ riff. “Parking Ticket” had potential too. Rudy Sarzo gave it a pulse that might have taken it on the radio. The 1989 monitor mix would have been perfect for B-side release. Why did Cov have to hold out on us all these years? “Burning Heart” was a special song, a re-recording of an old Vandenberg track that David really loved. Unfortunately the monitor mix is is only a skeleton of what could have been a sensational Whitesnake ballad. “Ain’t Gonna Cry No More” is heavily modernized, with keyboards sounding like they were trying to recapture “Here I Go Again” (which they were). “We Wish You Well” is more contemplative, with piano as the focus.
All of this previously unheard material is scattered over several discs. “Evolutions” (Disc 3) is a familiar concept to fans of these box sets. Demos from various stages of completion are spliced together into one cohesive track. You will be able to hear the songs “evolve” as the band worked on them. Every track from the album plus “Sweet Lady Luck”, “Parking Ticket” and “Kill for the Cut” can be heard this way. Disc 4 is a collection of monitor mixes with all the album songs and all the unreleased ones too. These discs are the ones that allow us to really hear the album the way it would have been if Adrian didn’t hurt his wrist. We would have got an album that sounded a lot more like Whitesnake. It was audibly different even if familiar.
Perhaps the best disc in the entire set is “A Trip to Granny’s House: Session Tapes, Wheezy Interludes & Jams”. It’s just as loose as it sounds. Enjoy the funk of “Death Disco”, the funkiest David’s been since Come Taste the Band. If you’ve always wanted to hear David sing “Tie a Yellow Ribbon ‘Round the Old Oak Tree”, now you finally can! There’s a lot of goofing off in some of these tracks, but also a lot of rock. It’s live off the floor as they rehearse the songs, as a four piece band with Adrian. Not all the final lyrics or solos are set, but the songs are so raw and fresh. Some of the jams show a side of Whitesnake we rarely got to see. Kind of Purple-y in the way they just could take off and rip some blues.
Given all the rich audio extras, it’s OK if one of the CDs is a little impoverished. That would be disc 2, “The Wagging Tongue Edition”. This is a reproduction of an old promo CD, featuring the album Slip of the Tongue with a Dirty David interview interspersed. This was meant for radio premieres. It has the entire album in the correct order, but because it’s faded in and out of interviews, it’s really not a substitute for a proper copy of the original album. At least the vintage 1989 interviews are interesting. It saves collectors from buying a copy on Discogs. (Coverdale claims “Judgement Day” was originally titled “Up Yours Robert”. Ooft.)
There’s another disappointment here and it’s difficult to forgive. In 2011, Whitesnake released the long awaited Live at Donington as a 2 CD/1 DVD package. This brilliant performance finally gave us a permanent record of Whitesnake live with Vai. In our previous dedicated review, we had this to say:
Musically, it’s a wild ride. It’s not the Steve Vai show. Adrian gets just as many solos, and his are still spine-tingling if more conventional. It is loaded with ‘Snake hits, leaning heavily on the three Geffen albums. In fact there is only one pre-Slide It In song included: The Bobby “Blue” Bland cover “Ain’t No Love in the Heart of the City”. And, since it is also the pre-grunge era, there are plenty of solos, which today seems excessive. Aldridge does his drum solo at the end of “Still Of The Night”. Vandenberg gets his “Adagio for Strato”/”Flying Dutchman Boogie”. Most excitingly, Steve Vai performs two songs from his then-brand new (and top 40!) album Passion And Warfare: “For The Love Of God” and “The Audience Is Listening”, with Aldridge on drums. Coverdale even introduces him as “Mr. Passion and Warfare!” so I imagine there was no sour grapes that Vai’s album was doing so well. And lemme tell ya folks — the audience WAS listening, and going nuts too!
Unfortunately, to save a little bit of plastic, this set was reduced to a single CD for its inclusion here. The Vai and Adrian solos were cut, though Tommy’s drum solo in “Still of the Night” is retained. To cut the guitar solos in such a guitar focused boxed set is not only unwise but unforgivable. Fans who don’t have Live at Donington are going to want to shell out again just to get the solos. Fortunately, the whole show is uncut on the included DVD.
The DVD has plenty of added value; it’s not just a reissue of Live at Donington. You’ll get the three music videos from the album (“Now You’re Gone”, “The Deeper the Love” and “Fool for Your Loving”). There’s even a brand new clip for “Sweet Lady Luck” cobbled together from existing video. Then, you can go deeper into the album. The aforementioned sitdown with David and Adrian is really enlightening. Another behind the scenes feature narrated by David is fantastic for those who love to watch a band create in the studio. Coverdale’s not a bad guitarist himself.
These Whitesnake box sets also include ample extras on paper. There’s quite a nice miniature reformatted tour program with the majority of cool photos. A large Slip of the Tongue poster can adorn your wall, or remain safely folded up in this box. Finally, there is a 60 page hardcover booklet. This is a treasure trove of press clippings, magazine covers, single artwork, and more. Lyrics and credits wrap it all up in a nice little package.
Because we know that David puts so much into these box sets, it’s that much more heartbreaking that this one is so slightly imperfect. The shuffled running order and lack of guitar kittens on “Kitten’s Got Claws” is a problem. The truncated live album is another. It means I have to hang onto old CDs that I was hoping to phase out of my collection in favour of this sleek set. Alas, I’ll keep them as they are my preferred listening experience.
Otherwise, in every other way, this box set delivers. It makes a lovely display next to its brethren and it justifies its cost.
The brightest always burn out the quickest. Audioslave lasted a mere five years but unleashed three albums in the same time most bands can only crank out one or two. It was a collaboration that bore sweet fruit. Ronnie James Dio used to say that when it came to collaborations, the first album was usually the best. That’s true of Audioslave.
Their first, self-titled album checks all the boxes: monster grooves, soaring vocals and wonky solos. Since it’s produced by Rick Rubin you know it’s gonna be loud. You can also count on a clear, big drum sound which Rubin achieves. At 14 tracks, the album is swollen, but despite its long runtime there is nary a dud.
There are some who, at the time at least, felt that Rage Against The Machine’s style of abnormally funky rap-metal could not be adapted to hard rock. They felt the fit between Chris Cornell and the Rage guys was forced and resulted in something that would only appeal to Soundgarden’s fans while alienating those of Rage. While there is a smidgen of truth to that assertion, Rage have proven time and again that they can pretty much do anything. No boundaries.
No tracks to skip, either, but some you may want to focus extra attention on. “Cochise” about the revered Indian warrior, has a groove that can crack concrete. Same with “Show Me How to Live” and “Gasoline”, heavier than the proverbial lead balloon, but infested with melodic vocals. Audioslave could even pull off slower material, though you’d be hesitant to call them “ballads”. “Like A Stone” is essential: precision, smoky rock crooning. The spare arrangement allows Chris’ vocals to make the impact, though the bass is certainly earth-moving. As if that wasn’t enough, Tom Morello’s solo combines his trademark noisy note-work with epic composition.
Despite the quality tracks before and after, the best may be the angry “Set It Off”. It slams. It’s closest to Rage’s anarchist tendencies. It’s just pissed off.
He was standing at the rock, Gathering the flock, And getting there with no directions, And underneath the arch, It turned into a march, And there he found the spark to set this fucker off.
A 14 track album this good could earn a 2000 word analysis, but we’ll save that for an inevitable deluxe edition. There are lots of B-sides and bonus tracks from this album that need to be properly collected into a set, like the download-only “Give”, a rhythmic little extra. Suffice to say, Audioslave is an essential album for anybody who ever liked rock music. There is a purity to it. As the liner notes say, “all sounds made by guitar, bass, drums, and vocals.” Even the weird squonky shit, so be ready for your mind and soul to be blown. Sit back and absorb it a while, because there’s a lot here to assimilate into your blood.
“That was even more unsettling than I remember,” said Holen after viewing Eraserhead for the first time in many moons. You see, I hadn’t planned to review this surrealist masterpiece for my Halloween reviews, but then a funny thing happened. Criterion Collection had a 50% off sale, so I decided to order the Blu-ray of Eraserhead, finally adding one of the few missing pieces to my David Lynch collection, and securing one of my favorite films of all time in the process. I’m in pretty good company calling it a favorite, as it’s beloved by talents as diverse as Mel Brooks, Crispin Glover, and Stanley Kubrick. As a matter of fact, Kubrick screened this film on the set of The Shining in an attempt to express the mood he was trying to capture with his own film.
If you’ve never seen it and you believe that the following tidbit is giving you a solid idea of what to expect, you’d be pretty wrong. Eraserhead and The Shining may share similar abilities to cause tension, but that’s about it. Eraserhead honestly has more in common with 2001. It’s an overwhelming barrage of images and ideas, rather than concrete dialogue or relatable characters. Filmed in hazy black and white, the movie can best be summed up as a dream. Not dreamlike, but a dream. There’s very little in this film that we can connect back to our own world, and even the things that we recognize act in ways that we’ve never seen before. That process of making the common seem alien births fear. Like the chickens that come alive on their plates as you try to cut them.
But this fear is anchored in a sense of wide-eyed wonder. We’re unable to turn away, and much like a dream, we’re helpless to resist the unsettling events we’re seeing on the screen. The plot is simple. A man on vacation from his printing job in an industrial town learns he’s impregnated his girlfriend. She gives birth to a premature baby that doesn’t look humanoid at all. She doesn’t have the endurance to take care of the child, so he’s left to deal with it on his own. We see our “hero” Henry Spencer (Jack Nance) struggle with the realities of being a new father, and all the fear and repressed emotions that accompany this time. The film takes an unflinching look at the ID surrounding fatherhood. Henry fears being usurped by his own son, and worries that his status as a father will make women turn away from him in fear. He struggles with whether he should kill his “child”, being egged on by a woman that lives in his radiator with swollen cheeks
None of this is dealt with in a traditional way, and none of it is expressed through dialogue. It’s a visual film that manages to deal with the harsh realities of these subliminal primal feelings by masking their brutal nature in the ambiguous whimsical wrap of dream logic. It would be impossible to feel any empathy towards Henry in a traditional film, but this movie gives us a disturbing look into the inner psyche of a man pushed far outside of his comfort zone, outside of his sanity. None of Henry’s actions until the end of the film could be considered sinister at all, as his worries are almost entirely projected out through the world around him.
At first, Henry seems to be quite caring to his child in every way. He’s there when the mother is not, is concerned when the baby is sick, and generally seems to be a polite mild-mannered man. Like many David Lynch films, Eraserhead searches past the shiny surface into the dark underbelly of reality, however unpleasant it may be. He did the same thing with small town American suburbs in Blue Velvet and Twin Peaks, and Hollywood in Mulholland Dr.
For my money though, he never created another picture as personal and as inimitable as Eraserhead. It achieves what it sets out to do with no fat, no moment wasted in its brief 89 minute run-time. I don’t understand everything in Eraserhead, but to me that’s part of the charm. It’s a riveting picture more disturbing than most horror, it forces you to be an active viewer by constantly engaging your brain, and it explores aspects of fatherhood most of us would rather deny existed. The 4K restoration done by Criterion looks and sounds wonderful, as the soundtrack is as much a part of this movie as the visuals are. I didn’t know that industrial noise could be so involving and manipulative, but the oppressive sounds reinforce the images on screen with masterful synchronization. The minutes on end of heavy bass make your entire body clench up until it suddenly ceases and you sit wondering what the hell just happened to you. It’s truly a masterpiece of cinema, and an extraordinary debut film. If you can stomach the supreme tension, seek one out today!
Review #2 in Holen’s Halloween Extravaganza for 2019!
JACK’S BACK (1988 Palisades)
Jack’s Back is the little thriller that couldn’t. It never had a chance with the shoddy distribution that it received. This is the feature film debut of Rowdy Herrington, who was also responsible for a film called Road House. Unfortunately, his debut didn’t receive a fraction of the recognition that Road House did. It got two thumbs up from Siskel & Ebert, and that’s about all the attention that it garnered in its original theatrical run. Nowadays, its status has hardly risen, but I believe that this has the quality to rise to cult status. As a matter of fact, I believe it’s quite a bit better than most thriller/horror films that have gained such distinction, and much more intelligent as well.
Despite sounding like an exploitation film, being shot on a shoestring budget, and a shitty trailer, Jack’s Back succeeds as an intelligent crime caper with enough twists and turns to keep the audience from ever completely solving the mystery or losing interest. The most invaluable asset to this movie may be leading man James Spader, one of America’s best, brightest, and eccentric actors. The man is so well-spoken that you find yourself clinging on to every single word, a true silver-tongued devil. It makes sense that one of his most memorable turns (as Alan Shore on the fantastic Boston Legal opposite William Shatner) was as a lawyer. Here, he has a dual role as twin brothers, and he turns in an impressive performance in each instance. Even more impressive is how the two are so different. The first is a sensitive, caring, hospital worker. He’s a goody two shoes social activist, too good for this world it seems. The second is a tense, rebellious rapscallion, not afraid to break the rules, or get his hands dirty to get the job done. He’s not particularly selfless, and he doesn’t particularly give a shit.
The premise of this film is that it is one hundred years after the original Jack the Ripper murders, something fucky is going on. A copycat killer is recreating these killings, down to every minute detail. The gentle and measured brother (John Wesford) is suspected of being the killer posthumously. The cops are determined to pin it on somebody to calm public fears, so they jump the gun in declaring the culprit. They suspect John because he has the medical know-how to recreate the killings, and because of that fact that he mysteriously ends up hanged at his place of employment one night. They assume the guilt was too much to bear, and he took his own life. The only person that doesn’t believe John is Jack Jr. is his twin brother Ricky. Ricky saw his brother’s death in a clairvoyant dream, and it was not suicide at all in that vision. John was murdered. Ricky races to the scene of the crime minutes after it happens and finds his dead brother, leading the cops to view Ricky with suspicion. They believe that he may have killed his brother. Ricky then has to clear his name, and the name of his deceased brother. He knows that his brother’s killer will surely be the real Jack copycat. Or will he? Who knows? I do, I’ve seen the movie. You probably don’t, because you probably haven’t. Hardly anyone has.
What ensues is a wildly engrossing mystery that keeps you on your toes until the very end. There are moments of cheese of course, this film was released in 1988, but not once does this movie feel like the novelty that its title and tagline would suggest. For its modest budget, Jack’s Back hardly ever feels cheap, tacky, or undercooked. It’s suspenseful, charming, occasionally funny, and unlike many films today, it breathes. There’s life in this picture, and it’s clear that the participants are having a blast making it. Due to the modest budget and its incredibly fast shooting schedule, there was no time to mess around with this picture. That brisk controlled chaos contributes to the manic energy of the film, underscoring the tension of the second act. As of right now I believe it’s free to watch on Amazon Prime, so if you wanted to venture out to something spooky you haven’t seen this year, I’d highly recommend this one. Also the whole thing is on YouTube in HD.
But if you’re a physical media guy like me, and you have a Region A player, you can pick this one up to hold in your hands. The first time this film made it to disc in North America was a Blu-ray/DVD combo release a few years back done by Scream Factory. Surprisingly, I have nothing but praise for this disc. The special features are a little bare, but that’s to be expected for such a minor entry (commercially) in the careers of all involved. The video was meticulously restored in HD from the original negatives in its original aspect ratio of 1.85:1, and the picture looks better than anyone had any right to expect. It’s a low budget film from 1988, so temper your expectations, but I don’t see any evidence of print damage, excessive DNR, or shitty compression artifacts. I said surprisingly given that Shout! Factory has been very spotty in my opinion with regards to video quality. I appreciate everything that they do to bring us films that wouldn’t see a release by any other means, but some of their discs have been rather disappointing when it comes to their HD sources (here’s looking at you Wild at Heart, desperately in need of an updated 4K restoration).
Fortunately Jack’s Back had no HD transfer prior to this, so they had no choice but to do it with modern tech, and it’s clear that Pinewood (the dudes that restored this) handled this task with care and attention. The audio track is the film’s original mono mix rendered as a DTS-HD 2.0 track, and it’s as good as you’re gonna get out of such an old low budget film. It’s presented here accurately without any dropouts, pops, or clicks, and that’s all you could really ask for. Overall, I give major props to Scream Factory for this one, it’s a great disc, and well worth the $14.99 they’re asking for it.
4/5 Clairvoyant Spader Visions
And if you don’t trust me, take their word on it. They’re professionals, eh?
Welcome to Holen’s Halloween Extravaganza year two. This month I’ll being reviewing some spooky stuff leading up to the big day. What day? It’s Halloween! That’s why it’s called Holen’s Halloween Extravaganza. Do try to keep up!!! Today I’ve got an album full of dead men, parties, and a combination of the two. I’m already pissing my pants in fear just typing about it. Oh God, that’s warm.
Hey, I bet you’ve heard a Danny Elfman score. Maybe even a plethora of scores that fit that descriptor. But did you know this dude was the lead singer of rock band Oingo Boingo? You did? Well I’m so sorry that I tried to teach you something new Mr. Smartypants! Or is that Mrs. Smartypants, or Ms. Smartypants? This is an inclusive review. Anyway, in 1985 the Elf Man and company released Dead Man’s Party, their most commercially successful album, and one of their most eclectic. As Chris Farley would say, this is some kickass shit.
For such a commercial album, it sure is stylistically diverse, and incredibly strange. One of the highest compliments you could pay this group is to say that every song sounds like them, but no two songs sound alike. This is a group with many first-rate musicians, including a brass section. How many rock bands have a brass section? What we have on this album is a strange blend of many influences that makes a surprisingly delicious smoothie. Imagine rock, pop, dance music, soul, ‘60s surfer music, circus music, musical theater, and film score sprinkles all seamless blended in a digestible package. You’ve got Dead Man’s Party. You may be thinking to yourself, ‘Gee whiz! These folks sound a lot like Mr. Bungle.’ And you’d be right, as I’m convinced that Mr. Bungle’s entire career is based on the Oingo Boingo song here entitled “No One Lives Forever”.
I mean come on, Patton. Did you really think no one would notice just because you made it more demented and less commercial? Silly Patton. Go sing your Nestles songs. While Mike is off singing about chocolate, allow me to tell you about the topic at hand. This whole album is incredibly consistent, from the paranoid theatrical rock romp “Just Another Day” (a personal favorite), to the get down on the dance floor spooky staple from Back to School “Dead Man’s Party”, to the cowboy ‘80s pop love song “Stay”. This is an album where every song is crammed full of as many ideas as possible, while somehow sticking to a traditional pop format with great melodies from the golden voiced, red headed front-man. I’ve found that listening to normal music directly after this album is incredibly hard, just because normal stuff seems so simplistic in nature after the “everything and the kitchen sink” bombast of Oingo Boingo. Another favorite is “Help Me”, which sounds like U2 fucked The Police and was raised by Motown music from the ‘60s, with just a pinch of church gospel.
None of these contrasting influences are jarring. Elfman has a knack for working them in with a grace and subtlety that throws a veil over his nihilistic dark humor. These songs sound great on the radio, but there’s something off about them, something strange going on underneath the surface, a tension, exuberance. You can hear traces of his future days as a composer here, and they make his ability to compact that talent into a catchy three minute rock song even more impressive. Filler is nowhere to be found, every song is clearly crafted with an incredible amount of care and attention. While not every song is completely to my tastes, I’d say 8.5/9 are winners that make me want to move and groove, cry, sweat, and cower. This is music that plays great in the background, but is so much more rewarding upon attempting to dissect every nuance, every nook and cranny in this jam packed record.
If you’ve ever seen them in concert, or a concert video, you’ll know they throw one hell of a party. So why not make your next party a dead man’s party? Sleep with this CD nestled tight in your arms this holiday season. Happy October all you people. Holen’s back.
I’m not reviewing this movie. I’m off to change clothes. I’ve still got piss in my pants.
“Oh God! What did I just listen to?”– J from Resurrection Songs
EUROPE – “The Final Countdown 2000” (1999 Sony single)
As we edge closer to the start of a new decade, it’s the perfect time to look back at the turn of the millennium, 20 whole years ago. Sony decided that Europe’s “The Final Countdown” would make the ideal anthem for the millennium, and so had it remixed by the guy (Brian Rawling) who did Cher’s “Believe” a year earlier. Joey Tempest was not amused, and tried to find another mixer without success. Drummer Ian Haughland called the finished remix a “disaster”.
The full length remix is the antithesis to rock music. Sped up, with bouncy synth bass and drums, it was obviously calculated for dancing. There are keyboards, weird sounds, and samples that have nothing to do with the song. Of the original recording, Joey’s vocals remain, but the rest sounds completely digital. It goes on, and on. The edit is tolerably shorter, but barely. “The Final Countdown 2000” is an affront to rock music and everything its fans enjoy. It is pure pandering to people who would never have bought a Europe album in the first place. Is that what Sony felt they had to do in order to make it a hit a second time? Imagine if Europe recorded a new version with both guitarists instead. The song was already pop enough to be a hit again on the wave of 80s nostalgia. It didn’t need to be mutilated to fit into a dance remix. It surely would have done better than this (#6 in Sweden, #36 in the UK).
As a consolation prize, this CD single includes a single edit of the original song. All it’s missing is the countdown opening. After hearing the dance version twice, it sounds strangely sluggish (even though it’s not). It’s like taking an offramp from the highway into normal traffic.
TWISTED SISTER – Big Hits and Nasty Cuts (1992 Atlantic – Canadian CD)
When Twisted Sister split at the end of 1987, they went rather quietly into that goodnight. No big magazine articles, no solo projects incoming, not until 1992 when Dee Snider finally re-emerged with his new band Widowmaker. It was a quiet five years, broken only by the low key release of Twisted Sister’s first “greatest hits” compilation in March of that year.
Big Hits and Nasty Cuts was a compilation that both fans and band deserved. No careless cash grabs here. In 1992 it’s doubtful that Atlantic thought they’d be making much money off “I Wanna Rock”, one of the biggest cheerleaders of the obsolete generation. While Kurt Cobain cashed his biggest royalty cheque yet, J.J. French was writing the liner notes for this CD. (Mark “The Animal” Mendoza did the remastering with Ted Jensen.)
For the era, Big Hits and Nasty Cuts was one of the most fan-friendly, value-intensive CDs on the market. Even better for American fans, this time they got the bonus track! The album was split into two sides — the hits and the “nasty cuts”, all rare B-sides recorded at the Marquee club in England. Fortunately the entire show has since been issued by Rhino, but in 1992, very few fans had the original 12″ singles these songs were sourced from. Another rarity included was Twisted’s first single, “I’ll Never Grow Up, Now!” These were first releases for the CD format! Good thing too, because “I’ll Never Grow Up, Now!” is indelible as any of the hits.
The hits portion of the album isn’t quite predictable. Would you have expected the heavy metal uppercut “Under the Blade”? Or the raw “Shoot ‘Em Down”? Here they are, and thanks to the liner notes, you can find out why. (Oh fine, we’ll spoil one. “Under the Blade” was included because it’s been played at every Twisted show since it was written.) The three biggest hits are present and accounted for. “I Wanna Rock” and “We’re Not Gonna Take It” would be the two hits that everyone knows, and “The Price” is runner-up.
Also present: “I Am, I’m Me” and “The Kids Are Back” demonstrate Dee’s early knack for melodic songwriting, very punk-like in its simplicity especially when coupled with Twisted’s 4/4 rock. “You Can’t Stop Rock and Roll” also had to be here. Perhaps it’s Twisted’s best metal anthem. Finally “Be Chrool to Your Scuel” featuring Alice Cooper ends the hits side with the last one chronologically. (“Bad Boys of Rock and Roll” on the US version.) There’s no “Leader of the Pack” and no “Hot Love”. All hail the classic lineup: Dee Snider – lead vocals. J.J. French – guitar. Eddie “Fingers” Ojeda – guitar. Mark “The Animal” Mendoza – bass. The late, underappreciated A.J. Pero – drums. The lineup that set MTV on fire relied on catchy videos, yes, but the songs have survived equally well.
The nasty cuts may just be too heavy for the average listener. Recorded to 2-track tape, there’s no fixing the mixes here. The lengthy start to “What You Don’t Know (Sure Can Hurt You)” includes Lemmy’s intro and plenty of noise. There is no overlap with any other songs on the CD. “Destroyer” grinds so hard it’s almost a parody of itself. “Tear It Loose” is out-of-control fast, blowing away the album version. The US got “Run For Your Life” right after “Tear It Loose”, another fast rendition once it kicks in. (In Canada, “Run For Your Life” was only on cassette.) The cover tunes “It’s Only Rock ‘N’ Roll” and “Let the Good Times Roll/Feel So Fine” include plenty of crowd interplay. Just the thing to turn off Joe Average Listener, but amazing to hear the energy of the band and audience that night.
The live cuts really highlight, with 20/20 hindsight anyway, the power of A.J. Pero. The guy could really kill a drum kit, and his timekeeping is the cornerstone of what made Twisted Sister heavy.
Don’t buy this CD if you’re looking for a party CD. Buy it because you’re intrigued and want to learn more about a band who doesn’t get enough credit for being one of the world’s most dangerous. Buy it to check out the rarities and get a taste of what those in the know had in their collections back in 1983. Buy it because you’re going to get liner notes and photos of band members you never even heard of before. Buy it because this is a great compilation, done with loving care and value.
Dedicated to my pal Jason who is about to see Rancid open for the Misfits at Madison Square Gardens.
RANCID – …And Out Come the Wolves (1995 Epitaph)
Some albums earn automatic 5/5 star ratings. This is one of those albums. How’s that for a punk rock length review?
5/5 stars
Oh, alright, you wanted to read a little more with your coffee and slippers and battered & torn old jean jacket this morning? Fine. …And Out Come the Wolves is a landmark, spiritually plucked from an earlier time, as if it came out alongside Never Mind the Bollocks and The Ramones instead of Dookie and Smash. It’s uncompromising, timeless, and relentless. Best of all, there isn’t a weak track amongst the 19 included.
Rancid are punk rock for music fans. Check out Matt Freeman’s absolutely nutso bass solo on opening track “Maxwell Murder” (1:25 long). There’s another on “Lock, Step & Gone”. The album is sharp but not overproduced; there are plenty of rough edges to scratch your itches on. The dual vocals of Tim Armstrong and Lars Frederiksen are individual; albeit both are adequately snotty and gravelly.
…And Out Come the Wolves is notable for its ska influence on a number of tracks. It’s even alluded to in the lyrics: “Give ’em the boot, the roots, the reggae on my stereo.” Or, “Echoes of reggae, comin’ through my bedroom wall.” But even the tunes without the ska boast an abnormally astute sense of melody. Six tonnes of integrity and a sneer.
Memories:
T-Rev’s favourite song was “Roots Radicals”; he got me into the band. Via the Record Store, I had a four song sampler cassette that included “Roots Radicals”, “Ruby Soho”, “Junkie Man” and “Time Bomb”.
Jason’s favourite tunes are the fucking awesome “Disorder & Disarray” and “Journey to the End of the East Bay”.
I had a very significant life event associated with “Time Bomb” that I won’t be telling you about.
My grunge buddy Aaron strongly hated Rancid and I never understood why.
50 minutes of punk perfection, by four guys who absolutely know their shit. Each song is different; there is something here for everyone. Nobody can go wrong, you can only open your world up to something bright and colourful. …And Out Come the Wolves will blast your adrenal glands up wide open and stimulate your sense of skank. Do not live your life without it.
WOLFSBANE – Live Fast, Die Fast (1989 Def American cassette)
Blaze Bayley did not emerge from out of nowhere when he joined Iron Maiden. Six years before The X Factor, Bayley released his debut album with Wolfsbane, produced by Rick frickin’ Rubin of all people. Presumably this means Rick laid on a couch and didn’t wear shoes. Let’s have a listen, then.
“Man Hunt” is Van Halen meets Iron Maiden; as bizarre as that concoction may sound is half as much as it is good! It’s EVH and DLR, “Back in the Village”, hunting for painted ladies. Blaze shows off some impressive pipes, but guitarist Jase Edwards showcases all the good things you can do with a speedily-played six-string. Dirty Blaze must have hooked up with a bird according to “Shakin'”, which takes the sound back into the pocket. A Dokken/Halen hybrid with a touch of sleaze, and certainly harder edged than what most American bands were doing in 1989. “Killing Machine” sounds a bit like a lost Van Halen demo from 1977 but with a 1980s heavy metal drummer instead of Big Al. There’s no break between it and “Fell Out of Heaven”, acting like one big multi-parted song. Blaze is on the make again, sounding like a big dirty Ian Astbury. Add in the absolutely blitz of “Money to Burn” and you have a definitive “lust” trilogy.
Side two opens with a punchy tune called “Greasy”, possessing an unholy scream that you wish they would have utilized in Maiden. “I Like It Hot” is the funny summer cruisin’ tune, one the most commercial song on the album that is decidedly not commercial. You can sing along to the terrific chorus on “All Or Nothing” but the blitzkrieg speed makes it clearly radio unfriendly. The only power ballad “Tears From a Fool” is harder edged with a long solo, uncompromised and remote. And with not even a breath’s break, “Pretty Baby” concludes this album-length treatise on picking up chicks in an accelerated manor.
The sonics of this Rick Rubin production are typically dry and crisp, but with an annoying snare drum sound that makes you question his hearing. He arranged some cool gang vocals with both melody and rawness, but Live Fast, Die Fast doesn’t have any special sonic qualities that scream “Rubin”.
Wolfsbane happened an interesting niche here. They blended the best aspects of American hard rock, tossed it with some heavy fucking metal, and a singer who didn’t sound like everyone else (with a dirty mind). It was dangerous and it was different.
Was it good? Yeah! To quote the Heavy Metal Overlord, even Rick Rubin couldn’t fuck it up.
LITTLE CÆSAR – Little Cæsar (1990 DGC cassette)
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