Kiss took the unusual step of waiting six months before going out on tour to support Hot in the Shade. Bands were having trouble selling out arenas. In the meantime they released singles and videos. “Hide Your Heart” came first in October of 1989. It did alright; for fans the best part of “Hide Your Heart” was seeing Paul Stanley playing guitar again in the music video. The CD single was nothing special; just the Paul Stanley A-side, backed by two Gene Simmons B-sides, as had become the norm. “Betrayed” and “Boomerang” were among the better Simmons tracks to chose from Hot in the Shade.
In January of the new year, they dropped what they hoped to be the big single, “Forever”. The excellent music video was an MTV hit, going to #1, while the single went to #8 on the U.S. Billboard Hot 100. One reason the video was so well received is that it was a rare back-to-basics look at the band. It was just four guys playing together in a room. No girls, no gimmicks, no dancing. Featuring exceptional performances by Eric Carr and Bruce Kulick, “Forever” was one of those rare ballads with integrity. Having Bruce’s old Blackjack buddy, Michael Bolton, in the writing credits didn’t hurt.
Ace Frehley wasn’t impressed though. In the July 1990 issue of Guitar for the Practising Musician, he dismissed it as pop. He wasn’t wrong, but that doesn’t make “Forever” bad.
The single for “Forever” received a wider release on all three major formats (CD, vinyl and tape), and was expanded to EP length with four tracks. It also received something very rare for Kiss: a single exclusive remix, by Steve Thompson and Michael Barbiero. It has some difference in levels and echo. However, every CD copy of this single has a flaw, a skip at 1:40 that shouldn’t be there. It’s not even a damaged CD; if you look at the track times, the single version is encoded few seconds shorter. In other words a faulty master was used on every CD single. You won’t find one without the skip. Vinyl and cassette don’t have the flaw.
Fortunately this oversight was fixed when Kiss released their box set a decade later. The correct remixed single version without flaw was remastered and included in the set.
The included B-sides are an interesting mix. From the Hot in the Shade album, there’s the Gene Simmons throwaway “The Street Giveth and the Street Taketh Away”. The other two are, strangely, two of Paul’s “new” tracks from Kiss Killers. The logic here was the Kiss Killers was (and still is) unreleased in North America. At least this gave us an easy way to get the amazing “Nowhere to Run” on CD.
Too bad about that flaw on the CD version. Otherwise this isn’t a bad little single.
Step one: Get Gene Simmons’ demon head back into the game.
Step two: Record a rock album, not a Bon-keyboard-Jovi-Kiss hybrid.
Throw in the kitchen sink while you’re at it. It’s Kiss, so what’s wrong with excess? Why not a new album with 15 tracks? Why not work with Vini Poncia, Desmond Child, Holly Knight, and Michael Bolotin Bolton? How about bringing in Tommy Thayer from Black ‘n Blue to co-write some tunes?
Why not indeed. The results yielded were interesting to say the least, and certainly more rock and roll than anything else Kiss did in the 1980s. It is also overall one of the hardest Kiss albums to listen to front to back. A for effort, D for songs. Its bloated and unfinished track list seemed like Kiss was trying really hard on one end, but gave up on the other.
Paul Stanley and Gene Simmons self-produced Hot in the Shade, after the negative experience with outsider Ron Nevison. This meant that there was no-one to push them to do better, as Bob Ezrin and Eddie Kramer would. No-one to say “no” to using demo tapes on the finished albums. No-one to say “no” to 15 tracks, to drum machines, and to sub-par songs.
Issues aside, Hot in the Shade is not all bad. At least you can say that Kiss went for it.
Opener “Rise to It” begins with something new: acoustic slide guitar (from Paul Stanley)! In a time when rock bands were re-discovering the blues, this old-timey touch was a welcome sound. The slide gives way to one of Paul’s most incendiary tracks of the decade. Written with expert songsmith Bob Halligan Jr., “Rise to It” hits all the right spots.
“Rise to It” was eventually chosen as a third single to promote Kiss’ upcoming 1990 tour. The music video opened a door that fans refused to allow them to close: Kiss in makeup again. Instead of the slide guitar intro, the video takes us to a theoretical 1975. Gene and Paul sit in the dressing room, applying their legendary whitepaint. The conversation was one that Gene and Paul may have had many times in the old days: musing on a life without makeup.
“I saw that review today. Some of those people don’t think this is gonna last. They think it’s a joke,” says Paul. Gene reassures them that it doesn’t matter as long as they believe in themselves.
“I bet you we could take the makeup off and it wouldn’t make any difference,” Paul retorts. Gene calls him nuts.
“Gene, there’s nothing we can’t do.”
“Still say you’re nuts.”
At the end of the video, there they were: Paul and Gene, Starchild and Demon, in makeup for the first time in seven years. What did it mean? Was it just hype? Of course it was. It would be seven more years before they’d do a tour in makeup again.
But it was cool, and it made many fans smile ear to ear.
Like all the previous Kiss albums from the non-makeup era, all three single/videos were Paul songs. Though “Rise to It” is the most noteworthy video, “Hide Your Heart” was first. This Stanley/Child/Knight outtake from Crazy Nights was actually first recorded by Bonnie Tyler in 1988. At the same time that Kiss were recording it for Hot in the Shade, Ace Frehley also did his own version for 1989’s Trouble Walkin’. Confusing? Kiss were the only band to have a semi-hit with it (#22 US).
As a nice change of pace from putting X’s in sex, the lyrics were a story about star-crossed lovers in gangland. “Tito looked for Johnny with a vengeance and a gun, Johnny better run better run,” sings Paul. In fact, “Hide Your Heart” does not get enough credit in fan circles for being lyrically different. At least it is recognised as a great tune from a poor album.
Kiss weren’t worried about competition from Ace and did indeed record the best version of “Hide Your Heart”.
The most notable single was the ballad “Forever” (and we will take a closer look at the CD single in the next instalment of this series). Michael Bolton was an old bandmate of Bruce Kulick’s from the Blackjack days. Before he was a superstar crooner, he was a rocker. Together he and Paul wrote “Forever”, which became the big hit (#8 Billboard hot 100).
As an acoustic ballad, “Forever” is far more palatable than the keyboardy “Reason to Live” from ’87. What gives it balls are the two unsung Kiss members: Kulick and Eric Carr. Eric’s heavy drumming on “Forever” really kicks it up a notch. Listen to that hammering 1-2-3-4 bit at the 1:05 mark. “When you’re strong you can stand on your own…” ONE TWO THREE FOUR on the snares. Heavy as fuck on a ballad! Then there’s Bruce’s acoustic solo, another first for Kiss. The temptation would be to record a ripping electric solo like everyone else. Bruce wrote and recorded a hook-laden acoustic solo that is as much a part of the song as the chorus.
Those are your three standouts from Hot in the Shade, leaving 12 more that don’t hit the same bar.
Of the remaining 12 tracks, Eric Carr’s lead vocal “Little Caesar” is significant. Making him sing “Beth” on Smashes, Thrashes & Hits was unfair and a cheat. “Little Caesar” is his “real” lead vocal debut. Originally written as “Ain’t That Peculiar” (later released on a Kiss box set), the words changed to reflect one of Eric’s nicknames. He was, after all, a little Italian guy! The funky “Little Ceasar” was performed entirely by Eric and Bruce Kulick.
US picture CD
Gene’s “Boomerang” (written for Crazy Nights with Bruce) may be noteworthy as the closest Kiss have ever gotten to thrash metal. Another Gene tune, “Cadillac Dreams” has a horn section and electric slide guitars. Paul’s “Silver Spoon” is augmented by soulful female backing vocals. You have to give them credit for stretching out and trying new things, but keeping it rock and roll.
Then there is a slew of filler, stuff that would never be played live nor remembered fondly. Gene has a number of generic sounding songs, heavy but uninteresting: “Betrayed”, “Prisoner of Love”, “Love’s a Slap in the Face”, “The Street Giveth and the Street Taketh Away”, and “Somewhere Between Heaven and Hell”. Paul is also guilty of providing filler material. “Read My Body” isn’t bad, but sounds like his attempt to re-write “Pour Some Sugar On Me”. “King of Hearts” and “You Love Me to Hate You” both have good parts here and there, but not quite enough.
As unfocused as Hot in the Shade is, at least it was a step. Sure, adding horns and slides smacked of Aerosmith. Going almost-thrash was following, not leading. Musically, Kiss have never been leaders, but what they do is create their own confections from the ingredients of their best influences. Hot in the Shade represented a better mixture of ingredients, just without the discipline to mould them into 10 (just 10, not 15!) good songs.
Today’s rating:
1.5/5 stars
The story of the next three years in Kiss will be explored in a series of reviews on CD singles, live bootlegs, and solo releases. Don’t miss them!
HELIX – “The Devil is Having a Party Tonight” / “The Tequila Song” (2017 clear red picture single)
It’s been love for Helix and I since…many years! Since Record Store Tales Part 2: Gimme An R, at least. As such, I may be a little biased when it comes to this band. Maybe. I truly believe their music deserves much more attention from the rock community, particularly the recent albums which are always excellent. Helix mainman Brian Vollmer maintains a reputation as the hardest working man in Canadian heavy rock. 2017 sees the release of not just a new Helix single (and a lavish one at that), but also his second solo album Get Yer Hands Dirty.
Helix today is Vollmer on vox, Daryl Gray on bass, Fritz Hinz kickin’ the drums, and newer members Kaleb “Duckman” Duck and Chris Julke. The inner sleeve is signed by all five members, which is just the kind of cool personal touch Helix are known for. Also noteworthy, all but Hinz wrote the single A-side “The Devil is Having a Party Tonight”. That makes it the first Helix song in years written solely by band members. “The Tequila Song” on the B-side is composed by mainstay collaborators Gord Pryor, Steve Georgakopoulos and Vollmer.
Great tunes, these are, both party songs. Each is a little heavier than you might usually expect from the Helix band. “Devil” is possessed by a heavy-as-a-tombstone riff, and some exotic guitar noodlings that recall the good stuff from the metallic 80s.
I think “The Tequila Song” is even better. I was known to drink tequila from time to time in my younger days, but I gotta say that Helix have written a better song about tequila than Sammy Hagar ever has. Stomp to that riff as you “lick it, bang it, suck it, tequila!” Even if you’re the designated driver, you’ll find the chorus infectious and party-ready.
Old review from the archives (revised). This book has long been ejected from the collection.
RICK SKY – The Show Must Go On – The Life of Freddie Mercury (1992 Fontana)
This book is shallow to the extreme. If you ever wanted to know how much money Freddie Mercury spent on lavish parties, then this is for you. If you want to learn anything at all about Queen and their music, you will have to look elsewhere.
While the book dwells far too long on Freddie’s fabulous friends and fantastic parties, I did find the closing chapters regarding his death very sad and heartfelt. It puts you in the moment. There were also some interesting bits about his childhood and youth. Not enough to redeem this book, which just isn’t up to snuff for any fan, serious or casual.
19 years ago, Deep Purple released their final studio album with Jon Lord. We didn’t know that at the time of course. Jon’s departure happened a few years later, when touring wore him down. He capped it off properly with a Purple tour of live performances of the Concerto for Group and Orchestra. However, there is always a certain sense of…incompletion. Lord’s last studio album wasn’t the kind you want to go out on.
Purple had a huge comeback with the masterpiece Purpendicular in 1996. It was a beautiful, quirky and intelligent record. Its followup Abandon was an effort to “get heavy”, but with hindsight even the band admitted it missed the mark. Sure, it was heavier with more riffs, but Steve Morse isn’t particularly a riffy player. Abandon lacked the feeling, and the level of songwriting was not there.
Lead track “Any Fule Kno That” works on a heavy groove, and it’s one of the songs that does click. There are two particularly memorable songs on Abandon: “Any Fule Kno That” and the laid back “Fingers to the Bone”. “Fingers” is based on a celtic Steve Morse guitar lick, with a passionate Ian Gillan vocal on top. Almost up there with them is “Seventh Heaven”, which could be the heaviest Purple song ever. Paicey’s drums are relentless. You can also count “Bludsucker” among the best material, but it’s a re-recording of “Bloodsucker” from In Rock. Unfortunately this serves to underline how many years have passed, in regards to the vocal cords of Mr. Gillan.
All the other tunes have something to them of interest, but just not enough. “Almost Human” for example has a nice shuffle beat. “’69” has cool lyrics and a hell of a tempo. There is a killer slow blues called “Don’t Make Me Happy” that just needs a better chorus. The magic sauce just isn’t there. Few of these songs were played live, and when they were, they tended to have more life than the album.
One must wonder, if the lacklustre Abandon is the reason Deep Purple haven’t self produced an album since. Every record since then was either produced with Michael Bradford or Bob Ezrin. Every record since has been better overall. Something about Abandon just doesn’t hit the bar. Maybe it’s the oddly obtrusive double-tracked vocals. Whatever the cause, it’s hard to recommend Abandon when there are so many awesome Purple albums to enjoy ahead of it.
DEATH BY TECHNOLOGY – A Temporary Solution To a Permanent Problem (independent)
Most reviewers would acknowledge that one of our least favourite tasks is reviewing a friend’s music. You don’t feel as foot loose and fancy free with your words. When a friend asks for you to review their latest album, that’s hard. Harder still is when a friend would prefer that you don’t review their music!
Such is the case with Death By Technology. I think my friend Aaron Lebold would prefer that his one and only musical release was not revived by me, but this is a problem. My goal, in part, is to review every single album in this collection, and here it is. It has to be done for the sake of this project.
Before I knew it, Aaron came in to my store one day with copies of his CD, A Temporary Solution To a Permanent Problem, under the pseudonym Death by Technology. I put it out for sale with a sticker on it saying “Local Industrial Music Prodigy”, hoping someone would bite. A lot of people listened to it, but selling a copy was hard.
So here’s the truth. It’s a noble effort. The beats and riffs are decent enough. There are weird and creepy movie and TV samples. You can hear what he’s trying to do. I think what would have helped, is if he gave his old buddy Mike a call to sing the lead vocals. Aaron and I never quite saw eye to eye on lead vocals. I go for high pitched screams, he liked a more contemporary rap/rock hybrid. The biggest flaw with this CD is that I’m not on it.
But it can’t be that bad. After all, I remember every tune. This CD is 16 minutes long, and therefore it was perfect for closing time at the Record Store. An old employee named Chris used to put it on at quarter to nine when closing. It was like a tradition!
Van Halen had some of the best videos of the 80s, bar none. After David Lee Roth, the visionary behind the videos, left the band, they refused to film any new clips for their first six singles with Sammy Hagar! They didn’t want the comparisons. Instead they released live versions of singles as videos. They finally filmed an actual studio video for the ballad “When It’s Love” in late 1988.
It seems Van Halen still can’t reconcile all the different singers from the past. That is obvious by the omissions from this disc. Go ahead and list the missing videos:
The excellently corny “Oh Pretty Woman”. “You Really Got Me”, the timeless Kinks cover. The live videos for “Unchained” and “So This Is Love”. All the live video clips are missing, even Sammy’s debut in “Why Can’t This Be Love”. As is Gary Cherone’s “Fire In The Hole”. “Feels So Good”, “Top of the World”, “Amsterdam”…all missing.
At least they included one Cherone video (“Without You”), but then again, he was the band’s current singer when this was released in 1998. It would have been weird if he wasn’t on it. He hasn’t made an appearance or even been mentioned on any Van Halen releases since.
For Van Halen to refuse to release those videos on DVD just indicates they’re scared of their own shadows. You can’t bury your past, you may as well celebrate it.
MAX WEBSTER – The Party (2017 Anthem 8 CD box set)
Normally when we review box sets like this, we prefer to review each album individually. Three of the eight discs have already been covered here: Max Webster (their debut), High Class in Borrowed Shoes, and Universal Juveniles (their final album). The rest of the Max Webster albums will be reviewed in due time, so for now we will take a general look at their brand new CD box set, The Party.
The Max Webster catalogue (and to a lesser extent, the solo Kim Mitchell discography) has been well overdue for a remastering. The original Anthem CDs are thin and tinny. Rock Candy did a fantastic remaster of the first three albums with better sound and a generous booklet, but what about the rest? I first heard about this project via Uncle Meat this past summer at Sausagefest. It was one of those “know a guy who knows a guy” stories, but the bottom line was, Max Webster’s catalogue was being remastered. And now we have The Party in hand as proof!
The contents include all five original Max studio albums, their concert opus Live Magnetic Air, Kim Mitchell’s very rare solo EP, and a bonus disc of rarities called The Bootleg. Those who buy the forthcoming vinyl version will also receive a booklet with rare photos and other goodies. The CD version has no booklet, but it does have nice gatefold packaging for each album. It’s affordably priced, so we forgive the lack of a booklet on the CD edition. Vinyl owners can look at it as a bonus for buying vinyl.
If improved audio is what you are longing for, then you should be very satisfied with The Party. It’s not overdriven, but it sounds fuller and deep. They didn’t go for loudness. This is all very good. You can safely ditch your old CD versions, rendered obsolete by this box.
The Bootleg will be the main draw for many. It does not disappoint. In fact, it intrigues, because it teases that there is more. Unreleased demos are listed as “Contraband” — reports suggest this refers to a collection of unreleased material still in the vault.
Max Webster apparently recorded their 2007 reunion show, or at least “Let Go the Line”. It sounds brilliant and makes you pray for a live album of the show. Terry Watkinson’s classic ballad sounds a little older, a little wiser, but just as brilliant as ever. Other live stuff from 1979 was recorded in Oshawa. “Oh War” simply smokes, and was not included on Live Magnetic Air. Then there’s the crazy jam centred on “Research (At Beach Resorts)”. These insane live sessions really show why Max Webster is held in such high esteem, almost like a second coming of Frank Zappa himself.
The unreleased demos include some songs that didn’t make Max’s albums. Fans know “Deep Dive” from Kim Mitchell’s solo live album, I Am A Wild Party. Max’s original 1982 demo is completely different. Same melody, same words, but a vastly different arrangement. It’s like rock and roll bluegrass, fast as possible, and insanely good. It was likely deemed too different to be on the Universal Juveniles LP, but there’s no doubt it’s awesome and the highlight of this box set.
Another standouts from the batch of demos is a version of “Battle Scar” without Rush; just Max! It’s a revelation; an interesting work in progress. There are also two songs you’ve never heard before, “Walden 5” and “Better”, both from 1979. Let’s just say that the quality of these unreleased Max songs is album level. “Walden 5” just needed some editing. A demo version of “In the World of Giants” from 1979 has way more guitar soloing. Kim fans will love it! Oh — and stay tuned for a surprise unlisted bonus track.
The box itself is just a cardboard sleeve, but at least an attractively packaged one. Yes, a booklet would have been appreciated. In lieu of that, we recommend Martin Popoff’s brilliantly detailed book Live Magnetic Air: The Unlikely Saga of the Superlative Max Webster to accompany this otherwise perfect set.
Oh, one last thing: The two “new” songs that were included on the hits compilation Diamonds Diamonds are not in this box set. So, to be a completist, you’d still need to track that one down. Vinyl is recommended; and then you’d own “Hot Spots” and “Overnight Sensation” to complete the picture. Just a word to the wise.
QUIET RIOT – Live at the US Festival (2012 Shout! CD/DVD set)
This was a long awaited release, since the US Festival was way back in 1983! The Holy Grail would be an official Van Halen release of their legendary performance, but I digress. There aren’t a lot of really great live Quiet Riot albums out there, with one called Extended Versions being the best package. Live at the US Festival is brief at just seven songs (plus a 4:38 guitar solo that also includes a sneak preview of a song called “Scream and Shout”). It does capture Quiet Riot at their peak, at a critical gig, and includes a DVD of the whole thing for the complete package. (Come on, Van Halen…)
Let’s have a look at the DVD first. The crowd is vast, the costumes ridiculous, but there’s some kind of fire in the air. The atmosphere is electric and the band are absolutely great visually, particularly Rudy Sarzo. DuBrow is the consummate glam frontman, and an underrated one at that. Have a giggle at the old style giant screens displaying the band logo.
The CD itself sounds good, no complaints there, and the recording sounds untampered (evidenced by a messy Carlos Cavazo guitar solo in “Cum On Feel the Noize”). Sarzo’s bass is mixed nice and audibly. It would have been better if more of a booklet was included, but it’s just a simple fold-out with no liner notes. This set is sparse and just over 40 minutes long. A lot of that time is taken up by talking. You get the big hits though, and the non-album track “Danger Zone”.
Live at the US Festival is a pretty easy Quiet Riot purchase to justify because of the included DVD.
Make A Difference Foundation – Stairway to Heaven/Highway to Hell (1989 Polygram)
In 1989, I proudly sported my Moscow Music Peace Festival T-shirt in the highschool halls. It was cool to see the rock bands on the forefront of heavy metal bringing music to the Soviet Union. Scorpions, Bon Jovi, Motley Crue, Cinderella, Ozzy Osbourne and Skid Row joined Russian metal band Gorky Park in the name of peace and being drug free.
Drug free? Ozzy? It’s true that this was a little strange, but Motley were at least clean for the first time in their lives. The Scorpions had played behind the Iron Curtain before, and Sabbath were huge in Russia. Meanwhile Bon Jovi were one of the few bands to legally release an album in the USSR, and in return they brought Gorky Park to the US. I was lucky enough to have a girlfriend who recorded the televised part of the concert off MTV and sent me a copy. It was a pretty mindblowing video. Those Russians were going absolutely nuts, seeing their idols on stage.
Later on, the bands each contributed a song to a compilation album called Stairway to Heaven/Highway to Hell, each covering an artist who had been touched by substance abuse. The CD was produced by the biggest name at the time, Bruce Fairbairn himself. The proceeds went to an anti-drug charity, for all the good “just saying no” does. The album itself was a pretty great compilation of mostly exclusive music. Though almost all of it is now available elsewhere, that wasn’t the case in 1989, making this a tempting buy.
Gorky Park, the up and comers, started off with “My Generation”. Some find it too putrid to stomach. It’s virtually an original song with only the lyrics recognizable. The riffs and melodies seem otherwise new. So give Gorky Park some credit for at least not attempting a carbon copy, but then you gotta take off some points for turning “My Generation” into a Bon Motley song. Unfortunately for Gorky Park, their momentum halted when singer Nikolai Noskov quit in 1990.
Skid Row surprised the hell out of everyone with the Pistols’ “Holidays in the Sun”. It was the first indication that Skid Row had punk roots. “Holidays” was very much a look ahead to where they would go on Slave to the Grind. They were on the punk bandwagon a full two years before Motley decided to cover the Sex Pistols. It’s always strange to hear flashy metal guitar solos on a Pistols song, but it’s sheer joy to hear Sebastian spitting and screaming up a storm.
Scorpions had a new compilation out called Best of Rockers ‘n’ Ballads. Another Who song, “I Can’t Explain” was taken from it to be used on this CD. It is by far the better of the Who covers, as Scorpions really made it their own. Next, Ozzy’s track is quite interesting. It’s the only studio recording of the lineup including Zakk Wylde, Randy Castillo, and Geezer Butler. Geezer quit the band shortly after, and this incredible lineup never recorded anything else. I consider it the strongest band that Ozzy had after Randy Rhoads. The quartet did a live sounding cover of “Purple Haze”, unfortunately not the greatest version. It is at least a showcase for Zakk Wylde to go nuts on the wah-wah pedal.
I will argue that the best track on this album came from the band that was riding a brand new high: Motley Crue. Clean and mean, they were incredibly strong in 1989. They the balls to choose an obscure Tommy Bolin (Deep Purple) solo tune: “Teaser”. Motley put on that Dr. Feelgood groove, and Mick Mars laid waste to the land with his slidey guitar goodness. It’s no surprise that “Teaser” has reappeared on Motley compilations several times since. It has balls as big as a bus!
Another strong contender is Bon Jovi’s take on Thin Lizzy. “The Boys are Back in Town” fits seamlessly with that small town New Jersey vibe that Bon Jovi used to have. Lynott must have had some influence on a young Jon Bon, because all his old tunes are about the boys – back in town! Dino’s bar and grill could be in Sayreville NJ. Of course, Bon Jovi are a competent enough band to be able to cover Thin Lizzy and do it well.
Another surprise: Cinderella doing Janis Joplin. Singer Tom Keifer suited Joplin, though you don’t immediately associate the two! “Move Over” takes advantage of that Keifer shriek that isn’t too far removed from Janis. From there on though, it’s filler. Jason Bonham, Tico Torres and Mickey Curry do a pretty boring “Moby Dick”. It’s funny how John Bonham sounds bigger on the original, than three drummers on this remake. Then it’s a bunch of live jams from the Moscow concert: “Hound Dog”, “Long Tall Sally”, “Blue Suede Shoes” and “Rock and Roll” (Bonham on drums again for the latter). Vince Neil is hopelessly out-screamed by Sebastian Bach on the Zep tune. All the singers participated, but Sebastian Bach and Tom Keifer blew ’em all away.
This disc has been out of print a while, but isn’t too hard to find. 80s rockers need to have it for its historical value.
– “Forever” (1990 Polygram EP)
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