Reviews

RE-REVIEW: KISS – The Ritz, NYC 12/08/1988

The KISS RE-REVIEW SERIES Part 34: 

 – The Ritz, NYC, 12th August 1988 (from 4 CD set Radio Waves 1974-1988) (2015 American Icons broadcast release)

At last, we are at the end of the Crazy Nights era.  Radio broadcasts are the next best thing to a bootleg.  Actually, strike that.  Radio broadcast CDs are often better than bootlegs.  The audio is usually decent because it’s a professionally recorded broadcast.  They are almost always cheaper than an equivalent bootleg CD too.  Broadcast discs are easily found on various Amazon sites and all over Ebay.  Thanks to their abundance, sometimes you can even choose from multiple releases of the same concerts.

One such show is Kiss’ 1988 performance at the Ritz in New York in 1988.  It’s a tight, hot Crazy Nights recording, but there are pros and cons to the different releases.  There was a 2013 Gold Fish release of the Ritz concert, called The Ritz on Fire, reviewed here.  Fans immediately noted that “Reason to Live” was missing, although others had “Reason to Live” on different releases.  In fact The Ritz on Fire is missing two songs:  “Bang Bang You” is the other.

To get all the songs, one recommended version is the 4 CD set The Very Best of Kiss – Radio Waves 1974-1988.  Inside you will get:

  • Disc 1:  Agora Ballroom, Cleveland, April 1 1974.  We reviewed a better version of this show with bonus tracks from ABC In Concert and the Mike Douglas Show.
  • Discs 2 & 3:  Animalize Live Uncensored 1985.   Missing some of the stage raps, but including all the songs from the original VHS release.
  • Disc 4:  The Ritz NYC 1988.  All the songs, but missing some of the stage raps.

Nothing’s perfect.  These broadcasts are quirky that way.  You can buy Radio Waves 1974-1988 to get all the songs from the Ritz show, but not all of Paul’s stage raps.  You could, of course, compile the best of the two versions together into one custom complete concert.  The sound quality is virtually the same.  What about an official release?  The only Kiss-produced media of this concert is a rare 11 song bonus DVD that came with Kissology Vol. 2, but only at US Best Buy.

Regardless of which version you buy, this concert has a good reputation with fans and it is easy to hear why.  Eric Carr and Bruce Kulick rose to the challenge and gave a Kiss a hard, professional sheen.  Meanwhile, behind the curtain stood Gary Corbett, thickening up the sound with additional  keyboards and backing vocals.  Paul Stanley was in his prime, hitting notes only dogs could hear.  Meanwhile Gene Simmons was present in body if not spirit.  Notably, “Shout it Out Loud” was performed at the Ritz, making it a rare 80s appearance of that song.  “Dr. Love” was also something of a rarity at the time.

Choose according to your own preferences, but don’t be afraid to pick up some version of Kiss at the Ritz.

Today’s rating:

4/5 stars

Original mikeladano.com review:  2014/01/27

GUEST REVIEW: Rush – “Distant Early Warning” (1984) by Aaron Lebold

I asked Aaron Lebold if he wouldn’t mind throwing in a few words about “Distant Early Warning” for my Grace Under Pressure review.  He sent me 772 words!  So here’s an entire separate post for you — Aaron Lebold on “Distant Early Warning”.

 

RUSH – “Distant Early Warning” / “Between the Wheels” (1984 Anthem)

by Aaron Lebold

Mike has asked me to do a review on the song “Distant Early Warning” by Rush.  When I first met Mike I quickly realized that Rush was one of his favorite bands,* and though he showed me a lot of their work, this song was the one that always stuck out to me the most.

My interpretation of the song may be a bit different now than it was when I first heard it; one of the greatest things about music is that its personal meaning can shift depending on what is going on in your own life.  I find musical interpretation to be completely personal, and what you take from it may be completely different than what the artist even intended.**

I was always reluctant to hear the artists of the songs I enjoyed explain them, as it could feel very crushing if the impact it had on me was not the actual meaning. I will explain what this song means to me, but that doesn’t mean I’m right.  It does mean that I am able to see why it had relevance to me, and if you have found a different interpretation, you are not wrong.

“An ill wind comes arising, Across the cities of the plain, There’s no swimming in the heavy water, No singing in the acid rain, Red alert, Red alert”

To me this is the ability to foresee an event, there is a metaphoric storm on its way, and it is serious enough for us to stop our own distractions, and unhealthy coping strategies in order to prepare for what is ahead.

“It’s so hard to stay together, Passing through revolving doors, We need someone to talk to, And someone to sweep the floors, Incomplete,  Incomplete”

This talks about the separation among us as people to me; we all tend to find our own paths and some of us become relevant to each other, where others become lower class, and we may see them as nothing more than the person who is sweeping the floors for us. This type of discrimination makes us incomplete as a human race.

“Cruising under your radar, Watching from satellites, Take a page from the red book, And keep them in your sights, Red alert, Red alert”

This again is a reference to having greater insight than others may possess. Being able to observe a situation undetected and being able to gather forethought about what the results may be.  The Red Book is a reference to Psychology, and this suggests using that manner of thinking as you move forward.

“Left and rights of passage, Black and whites of youth, Who can face the knowledge, That the truth is not the truth, Obsolete, Absolute, yeah”

To me this makes reference to our way of thinking, and things we may have misinterpreted as priority.  Rights of passage is the idea of moving from one group to another, and relates to social classes and advancement. Separating the races of children is another method of creating a divide.  The truth could refer to the idea that we are all one class and one collective  group of people, and that a lot of our perceptions are obsolete in the big picture.

“The world weighs on my shoulders, But what am I to do? You sometimes drive me crazy, But I worry about you”

To me this means that even though I may have my own problems, and I don’t always agree with someone’s actions, I still care for them and can’t help but notice when they seem to be heading in a bad direction.

“I know it makes no difference, To what you’re going through, But I see the tip of the iceberg
And I worry about you”

This basically means to me, that I am aware that my insight does not change your situation, but I can see the bigger picture and it makes me worried about how it may end up affecting you.  The Tip of the Iceberg is of course a reference to the Titanic, and how there is much more lurking under the water than is visible from the surface. The results can be potentially devastating, as they were for the historic vessel.

I can’t recall exactly what drew me to this song when I was younger, and I may have interpreted things differently back then, but the bottom line is that I found relevance and importance in the lyrics.  You may have a completely different take on this song, which is great.  The best thing about music is using it to find our own connections, and get us through our own lives.

Aaron Lebold


* So he thought.  In 1994 I was still a Rush poser.  I only owned Chronicles.  

 

** “Distant Early Warning” was written about the loneliness of someone who worked the DEW Line- a system of radar stations in the far northern Arctic region of Canada set up to detect incoming Soviet bombers during the Cold War, and provide early warning of any sea-and-land invasion. – wikipedia

REVIEW: Rush – Grace Under Pressure (1984)

Part one of a two-parter.

RUSH – Grace Under Pressure (1984 Anthem, 2011 Universal remaster)

When Rush followed 1982’s synth-driven Signals, they said goodbye to producer Terry Brown.  The band weren’t satisfied with the sonics of Signals and wanted to try working with different people.  They chose Steve Lillywhite, who wasn’t available, and so used Peter Henderson.  The album Grace Under Pressure was one of their most difficult to make.  Perhaps this is why it has such a cold, dark aura.

Even if Grace Under Pressure has a downer vibe, the first side is excellent.  Few albums have a strong an opener as “Distant Early Warning”.  Rush’s recent penchant for keyboards is front and center.  It also boasts one of their most catchy choruses:  “I see the tip of the iceberg and I worry about you.”  This single is a perfect storm of hooks, tension and biting guitars.

The album as a whole shows new influences.  “Afterimage” has a contemporary 80s new wave sound, but “Rushified”.*  Alex Lifeson in particular seemed to draw new influence from Andy Summers of the Police.  Reggae and ska became a part of the band’s arsenal, with Lifeson deftly handling those enigmatic chords.  “The Enemy Within” is one track that shows off these tricky new rhythms, in a frantically rocking way.  Synths and sequencers are a part of the picture on “Red Sector A”.  This post-apocalyptic track utilizes robotic rhythms to paint a picture of a future world.  “Are we the last ones left alive?  Are we the only human beings to survive?”  The lyrics are actually inspired by Geddy Lee’s mother, a holocaust survivor.  With the digital pulse beneath, you could just as easily imagine it’s about The Terminator.**

The second side also has memorable tracks such as “The Body Electric”.  This number definitely has a Blade Runner-like future setting.  “One humanoid escapee, One android on the run, Seeking freedom beneath the lonely desert sun.”  And how many songs can you name with lyrics in binary?  A lesser Rush song, “Kid Gloves”, is upbeat but not legendary.  “Red Lenses” is also somewhat forgettable, except for Peart fans who will savour every little moment of exotic and electronic percussion.

Rush saved the longest track for last, “Between the Wheels”, a melancholy but challenging track that reminds of the old school progressive Rush.  Backing guitars are exchanged for keyboards, but Lifeson uses the guitar to make unorthodox sounds.

It’s unfortunate that Grace Under Pressure has a brittle and icy production.  While that definitely works on “Red Sector A” and “Distant Early Warning”, one wonders what side two would sound like if it were a little fuller.

4/5 stars

 

* “Rushified” is a word coined by Paul Rudd in the film I Love You Man.

** Aaron Lebold will return tomorrow to discuss Rush lyric interpretation.

REVIEW: KISS – In the Land of the Rising Sun (live 1988 bootleg)

The KISS RE-REVIEW SERIES Part 33: 

 – In the Land of the Rising Sun (Big Boy Records bootleg from 1988 tour)

If you are in the mood for some live Kiss from the late 80s, then your journey might just come to an end here: Kiss at the Budokan, Tokyo Japan, April 22 1988. It’s not the last live Kiss from 1988 that we’ll examine, but it’s decent.  This 2 CD set boasts a more extensive track selection than Monsters of Rock, recorded in Germany in August.  It’s an audience recording, but above average quality.  It sounds like it is sourced from a previous vinyl generation.

In Germany, Kiss opened with “Deuce”, but in Japan, they didn’t even play it.  Instead they opened with “Love Gun”, chased immediately with some “Cold Gin”.  Therefore, it’s cool to have a couple bootlegs from this tour, to get a broader range of songs.  Japan also heard “Bang Bang You” from Crazy Nights.  Not a highlight to be sure, but a rarity that Kiss fans will want in their bootleg collection.  In a strange twist, “Fits Like a Glove” is split into two tracks, just like it was on the Germany CD, made by a completely different company.

Bruce Kulick’s solo before “No No No” is much longer, leading us to think that the solo on the Germany CD was edited for length.  This is the one to check out, to hear what kind of solo Bruce was playing in 1988.  Kulick is continuously impressive.  He always does justice to the original Ace Frehley (or Vinnie Vincent) ideas, but by playing his own solos with the right feel.  His technique is all but flawless.  This disc also has the Eric Carr drum solo and Gene’s bass solo intro to “I Love it Loud”.

There are plenty of tunes here that either weren’t played in Germany or just weren’t on that CD:  “Bang Bang You” (see above), “Calling Dr. Love”, “Reason to Live”, “War Machine”, “Lick It Up”, “I Was Made For Lovin’ You”, “Shout it Out Loud”, and “Strutter”.  “I Was Made For Lovin’ You” hadn’t been played live since 1980.

Almost every bootleg CD I own has some amusing mistake or quirk that I enjoy picking out.  This has a couple.  The label can’t decide if it’s named “Big Boy” (inner sleeve) or “Big Apple” (disc itself).  There are three “producers” and two “engineers” credited, for a bootleg CD.  I guess Eddie Kramer wasn’t available.  Kiss is credited on the disc as — not Kiss! — as the “Metal Boys of New York”!  Finally, in order to appear that nobody was making money off Kiss’ back, it is claimed on the CD that this “promotional copy” is “not for sale”.

Don’t let that deter you.  Buy it if you find it.

3.5/5 stars

 

REVIEW: Liquid Tension Experiment – Liquid Tension Experiment (1998)

LIQUID TENSION EXPERIMENT – Liquid Tension Experiment (1998 Magna Carta)

Liquid Tension Experiment is a supergroup on Magna Carta, which should tell you much.

Featuring not one, not two, but three guys from Dream Theater, plus Tony Levin, Liquid Tension Experiment is the progressive fan’s dream band.  Granted, keyboardist Jordan Rudess wasn’t in Dream Theater yet when they did this CD, but that’s where people know him from today.  Drummer Mike Portnoy and guitarist John Petrucci are the other driving forces behind Liquid Tension Experiment.

To use phrases like “mind blowing”, “insane”, “incredible” or “the shredder’s wet dream” don’t even begin to touch what the album Liquid Tension Experiment is about.  The liner notes by Mike Portnoy reveal that this project was assembled based on a wish list of players and their availability.  Rudess and Levin were on the list but guitarists just weren’t available, so that’s how Petrucci stepped in.  Together they had six days to write and record this album.  That it turned out so incredibly well says volumes about these guys as musicians.

Liquid Tension Experiment is not just an instrumental album with wicked playing.  The compositions are strong enough to make the album rise well above similar projects.  Magna Carta is loaded with insane projects by the best players in the world, but how many of those albums are good for repeated listenings?  The melodic and tonal sensibilities of Petrucci in particular really keep the album grounded, in a way that even lay people can enjoy.  Levin adds the Chapman Stick and a new agey flavour to the lighter material.  Check out “Osmosis” for a fine example of this.

Most of the album is heavy jammin’. It’s Mike Portnoy, and he does that so well. Together, they create a challenging sound but one with enough hooks that anyone can get into it. You might not realize how many time changes, weird chords and tempos you’re being exposed to, but you are, and you’ll be far better for it.

Together the album consists of nine songs and one spontaneous jam that exceeds 28 minutes! In fact, the tape ran out while recording, so the tail end of the song is from a DAT tape that Portnoy always runs when rehearsing. According to the notes, this piece ironically called “Three Minute Warning” was 100% improvised. “Not a single beat or note was discussed beforehand.” And no fixes or overdubs were made after the fact. It’s over 28 minutes of pure improvisation, and it came out brilliant. Everybody needs some of that in their life, to experience what pure free-form musical genius sounds like.

Must-hear pieces include “Paradigm Shift”, “Osmosis”, “Freedom of Speech” and “Universal Mind”.  It goes without saying that the 28 minute jam is essential as well.

This self-produced album also just sounds incredible.  The sonics are huge, but when the layers are peeled back, you can hear everything so clearly.  The Chapman Stick also adds a huge palette, sometimes heavier than lead and others lighter than a feather.  I’m sure the excellent audio is partly due to the mixing skills of one Kevin “Caveman” Shirley.  Don’t hesitate to pick up Liquid Tension Experiment if you see it.  There was also a second album made called 2, but this is the one to get if it crosses your path.

5/5 stars

REVIEW: KISS – Monsters of Rock (live 1988 bootleg)

The KISS RE-REVIEW SERIES Part 32: 

 – Monsters of Rock (Mistral Music bootleg from 1988 tour)

Oh, live bootlegs!  A fascinating and labyrinthine assortment of live Kiss bootlegs are out there, but don’t always expect the covers and song titles to match the actual contents!  Kiss didn’t release a live album from the Crazy Nights tour, as was expected by many fans.  An old Faces magazine from 1986 proclaimed, “Already there is talk of the next studio album, and Alive III.”  Instead we have numerous bootlegs from this period to sift through.

This CD is without any notes, but fans pieced together that it’s Schweinfurt, Germany, August 27 1988.  Kiss opened with “Deuce” rather than “Detroit”, and the energy is electric.  Bruce Kulick did a fine job of adapting his style to the old Kiss songs, and “Deuce” demonstrates that Bruce really was the right guy for the band.  He’s awesome but he plays for the song and not himself.  “Love Gun” is next, truly an awesome song, and with Paul at the peak of his vocal prowess, it rarely sounds better.  Meanwhile, Eric Carr sings the backing vocals impeccably, but there’s an annoying electronic drum that he hits at the end of it, a very 80s touch that wasn’t necessary.

The Kiss classics you’ve heard a million times are great as always, but what about the newer material from Crazy Nights?  It takes a while to get there.  “No No No” and “Crazy Crazy Nights” are crammed back to back in the middle of the set.  “No No No” acts as Bruce’s big solo too, which is fantastic, but the song isn’t.  It’s a shambles, as if they don’t know exactly how to play it.  “Crazy Crazy Nights” is much better, almost a classic.  They follow that up with the also-recent “Tears are Falling”.

One cool surprise is a bit of “Heartbreaker” right before “Fits Like a Glove” which is strangely split up between two tracks.  Another surprise is obtrusive keyboards.  Since Kiss had an offstage keyboardist now, maybe they felt like they had to use him on songs like “Cold Gin” that totally do not need keyboards.  In fact it’s like oil and water.  The keyboards roll off the rock and roll like an annoying rain storm.

The CD has some audio issues, odd noises here and there.  Ignore the track list on the back which is nonsense.  You’ll find the real track information below for your convenience.  At least the back cover credited keyboardist Gary Corbett, surely a rarity.  For a real howler though, check out the front cover.  That’s not Bruce, and that’s not 1988!

With all respect to Ace Frehley, the originator and influencer, I think Bruce Kulick is the finest guitar player that Kiss ever had.  His solo career is certainly worth investigating, and so is live Kiss from his time in the band.  Monsters of Rock is difficult to recommend over others, but if you find it within your price range, go for it.

3/5 stars

 

REVIEW: Johnny Horton – Battle of New Orleans (1981/1990)

JOHNNY HORTON – Battle of New Orleans (1981/1990 CBS Select)

I grew up with my father’s cassette of this compilation album, which only had the first eight songs.  Each one was a keeper, and we rarely skipped any songs (though side one was stronger than side two).  We played that tape every Saturday night in the car, when we were up at the cottage.  When it was released on CD in 1990, it was expanded to 12 tracks of Johnny Horton’s greatest hits.

The banjo and marching drums of “The Battle of New Orleans” set the stage for an irresistible tune.  I used it myself for a highschool project on the War of 1812.  I learned that many Canadian historians do not consider the Battle of New Orleans to have been a part of the War of 1812, since it was a raid that took place after the Treaty of Ghent was signed.  When reading American historical accounts of the war, I discovered that they included New Orleans in their books.  Why?  Because it was one of the few decisive American victories in that war, which is considered by Canucks to have been won by us and the British Empire.  Neither here nor there:  This song is unforgettable musically and lyrically.

Yeah, they ran through the briars,
And they ran through the brambles,
And they ran through the bushes,
Where a rabbit couldn’t go.
They ran so fast,
That the hounds couldn’t catch ’em,
On down the Mississippi to the Gulf of Mexico.

The British retreat enabled the United States to put a happy ending to their part in this war of empires.

The marching drums return for “Sink the Bismarck”, another story of history and victory, this time the Second World War.  The Bismarck was the biggest battleship the world had seen yet, and when it sunk the British ship the Hood, the Royal Navy went in pursuit.

We’ll find that German battleship that’s makin’ such a fuss,
We gotta sink the Bismarck ’cause the world depends on us,
Hit the decks a-runnin’ boys and spin those guns around,
When we find the Bismarck we gotta cut her down.

The song is ambiguous about how the ship went down.  Filmmaker James Cameron and experts discovered that after a British torpedo (fired from a Swordfish biplane) damaged the ship’s rudder (jamming it and rendering it useless), the Bismarck was scuttled by her own crew.

The Great Sioux War of 1876 is the setting for “Comanche (The Brave Horse)”.  Comanche was one of only three American horses to be given a full military funeral.  Johnny does the horse proud with a sad but beautiful tune and minimal accompaniment.

Picking up the tempo, “Honky Tonk Man” is purely fun.  When I think of country music, it sounds like “Honky Tonk Man”.  I remember flipping the tape here as a kid, and hitting play on side two.  “North to Alaska” tells of the gold rush with a catchy tune, but not quite as good as to those on side one.  “Whispering Pines” is a pretty ballad that we didn’t have patience for as kids, but is a flawless song for grown ups.  Marching drums and banjo returns as we visit the Civil War.  “Johnny Reb” is a symbol of the south, a controversial subject in 2017, but a good song regardless.  Our childhood cassette copy ended with “Rock Island Line”, a fun fast-talkin’ song performed live.

Four more songs included on the CD act like a “third side”, all a little less familiar.  “When It’s Springtime in Alaska (It’s 40 Below)” is a actually ballad of love and murder.  “All Grown Up” is a rock and roll tune, and unfortunately a skipper.  “Sleepy Eyed John” is back to banjos and better for it.  “I’m a One Woman Man” is a fine song to end the CD on, upbeat and easy to remember.

There are a few different Johnny Horton hits CDs to choose from, but for nostalgia and quality, Battle of New Orleans is still recommended.

4/5 stars

 

 

RE-REVIEW: KISS – eXposed (1987 video)

The KISS RE-REVIEW SERIES Part 31: 

 – eXposed (1987 VHS/2002 Mercury DVD)

“Hello.  The show we are about to see is a rousing docu-drama.  It will disgust some, and titillate others.  But whether it disgusts you, or titillates you, it is the truth, the whole truth, and nothing but…the truth.”

Kiss were on to something here.  The concept of a home video release that was more than just a compilation of clips was fairly new.  Kiss took the bull by the horns and put together a video that was all at once extremely sexist and innovative, offensive and invaluable.  Only fans need apply; anyone who is sick of Gene Simmons’ schtick will bore quickly of his oafish humour.  But when Kiss play it “straight” in certain interview segments, light shines through.  The old memories and the old friendships are fresh and vivid.

Interviewer Mark Blankfield strolls up to the “Kiss Mansion” where all four members live Monkee-like together in one house with dozens upon dozens of beautiful women. The doorbell plays “Rock N’ Roll All Nite”, and Paul Stanley is confused. He thought the interview was scheduled for…not noon, but 12 midnight! Nyuck, nyuck, nyuck.

The KISS Mansion

Some of the scripted bits are actually funnier than you’d expect. Paul and Gene are natural clowns, and playing the role of disinterested rock stars tickles the funnybone.  Blankfield keeps chasing them around, trying to get them to do some interviews.  All the while, he encounters scantily clad babes in various states of undress, and a butler intent on keeping him away from them.  Subjects of discussion in the scripted bits include nutrition and fitness.  Learn about Joseph Kiss Sr., who came up with the vision of Kiss in 1773.  Check out Paul Stanley’s workout video!  Meet his best friend, a monkey named Sonny Crockett. Cut to a music video!

The music videos are something. In a scripted bit, Paul is surprised that they have access to the uncensored version of “Who Wants to Be Lonely”, which neither MTV nor MuchMusic were willing to play. Censors were offended by images of women in bikinis spraying themselves with hoses, even though I’m sure George Michael did something similar a couple years later. Every music video that Kiss filmed from “I Love It Loud” (1982) to the Asylum album (1985) is included, except “Thrills in the Night”.*  All videos from eras prior to this are live and unreleased!

“Deuce” in San Fransisco

Live in Rio, from Kiss’ very last concert in makeup, it’s “I Love It Loud” with Vinnie Vincent!  This is good quality video and audio from a TV broadcast.  From the now famous bootleg Kissin’ Time in San Francisco (1975), it’s a nuclear version of “Deuce” in black and white.  It’s the first appearance of Ace Frehley and Peter Criss in this feature, and the rawness of the old band is a delightful contrast to the new.  Then it’s “Strutter” at Cobo Hall in ’76, an Ace guitar solo from 1980, and “Beth” in 1977 with Peter Criss (and a pretty bad final note).  Gene’s got a bass solo/blood spitting clip to show off, but the most interesting clip of the batch could be “Detroit Rock City” in Australia, 1980.  Paul did the verse melody with a slightly different twist.  “Rock and Roll all Nite” is included from the same show, which had Eric Carr on drums.  “I Stole Your Love” and “Ladies Room” have the original lineup from the Love Gun tour; Kiss at their bombastic best.

Of the best of the “straight” interview clips is the question, “How did you two get together?”  Paul and Gene start busking to “I’ll Be Back” by the Beatles, and suddenly you can imagine what they sounded like in 1972.  They even sing bits of Gene’s more…obscure early material.  “I love Eskimos…”  “My mother is beauuuutiful…”  (Hopefully we will hear these songs on Gene’s upcoming 150 track box set, Vault?)  Another good question, to Gene, is “Have you gone Hollywood?” which he answers with candor.

Incredible special features

The very large issue with this DVD is the absence of Bruce Kulick and Eric Carr.  They only appear in brief cameos, and get a couple lines a piece.  That’s very unfortunate.  And then there is the excessive objectification of women.  It’s done as an obvious satire of the rock star stereotype, but not particularly well.  Too bad.  This isn’t Spinal Tap.

Some of the diehards would have preferred a home video with more music and less gags.  Fortunately Kiss got the message when they eventually  got around to a sequel.

3/5 stars

* It appears  that “Thrills in the Night” must have been intended for inclusion at one point, because it’s in the songwriting credits at the end of the video.

Paul’s Beauties
The Archives

 

 

Original mikeladano.com review:  2012/08/03

REVIEW: Arkells – High Noon (2014)

ARKELLS – High Noon (2014 Universal)

Thank rock and roll for new bands like the Arkells!  I’ve been happily enjoying their singles for years.  I really fell in love when I saw the Hamilton band open the 2017 NHL Awards.  A starstruck Max Kerman (vocals) gleefully fist-bumped with Wayne Gretzky.  I knew I had to get one of their albums.  On vinyl!  I chose their 2014 release High Noon to be my first Arkells, for its unforgettable single “Leather Jacket”.

Kerman managing to keep his shit together on national TV with The Great One

High Noon was a sound choice.  “Leather Jacket” has been an earworm for a long time.  High Noon also has another sterling single, “Come to Light”.  Its basis is similar to Bowie’s “Modern Love”.  While there is no mistaking the year, the Arkells put a slick 80s slant on these songs.  Whether it’s in the beats or the keyboards, there is a love of 1980s rock here on High Noon.

There are numerous highlights and few forgettable ones.  Album opener “Fake Money” has a strong piano riff, a classic U2 vibe, and an anti-corporate attitude.  One of the catchiest, more summer-y fun tracks is ironically “Cynical Bastards”.  Good time upbeat rock with solid beats to shake your butt to!  “11:11” is primed for dancing .  Everyone will pick out their own favourites, because there aren’t any poor songs on this wax.  Check out “Crawling Through the Window” for a slower tune with all the integrity intact, or the strange Disco hop of “Systematic”.

A band can make or break based on the lead singer.  I really like the expressive and sincere singing style of Max Kerman.  He stands out from first listen.  It’s hard to say exactly what makes him stand out, but he certainly does.  A band to watch.

4.5/5 stars

REVIEW: Alice Cooper – “Paranoiac Personality” (2017 single)

ALICE COOPER – “Paranoiac Personality” (2017 Edel 7″ single, white vinyl)

In 1969, the original Alice Cooper group released their debut album for Frank Zappa’s Straight records.  The band consisted of Vincent Furnier on lead vocals using the stage name of “Alice Cooper”, Michael Bruce & Glen Buxton (guitars), Dennis Dunaway (bass), and Neal Smith (drums).  This legendary lineup laid waste to rock and roll until 1974 when they split for Alice to go solo.  Though Glen died in 1997, the surviving member eventually reunited on vinyl in 2011 for three tracks on Welcome 2 My Nightmare.  Since then the original band has worked together with surprising regularity, including on Cooper’s latest album Paranormal.

To go with the Paranormal brew-ha-ha, Alice put out a 7″ white vinyl single for “Personoiac Paranality” “Paranoiac Personality”.  It’s an easy track to like with a vibe reminiscent of his classic single “Go to Hell”.  This is likely to be a concert classic for as long as Alice tours.  The chorus is meant for a crowd to sing along.  “Paranoid!  Paranoid!”

A great B-side is what makes a single memorable.  In 2017 you see all kinds of gimmicky singles, from coloured vinyl to ridiculously low production numbers.  That stuff won’t make me buy a single; but an exclusive B-side will.  “I’m Eighteen” is performed by the aforementioned original Cooper band!  They are augmented by current Cooper guitarist Ryan Roxie, filling in for Glen Buxton.  What a great version this is, and how much more authentic can it get?  Alice has a nice intro for Glen, and it’s stuff like this that makes a single worth spending the money (and shipping) on.  My copy came from Seismic Records in the UK, but it was worth it to me.  The pristine white vinyl is just the icing on top.

5/5 stars