The return of Sunrise Records to Canada has been one of the most exciting stories of 2017 for fans of physical product. I rarely leave without new music under my arms. This time I went for the new Alice Cooper album Paranormal, deluxe edition CD of course. It was there front racked, $29.99. A bit pricey compared to Amazon, but I wanted to buy it so I went for it.
I always get good customer service at Sunrise, and I went to the counter to ask a question. The lady working looked it up — the Alice Cooper “Paranoiac Personality” single on 7″ vinyl. No luck, as it turns out Sunrise don’t get many 7″ singles that aren’t for Record Store Day. And that’s fine, but here’s where she went the extra mile. She was working on something else and said, “I’ll be right over here in this isle if you have any more questions.” Cool. I appreciated that.
I had no more questions as I came for a few specific things.
Something on vinyl that I didn’t already have on CD.
A fidget spinner.
Mrs. LeBrain bought me a fidget spinner for my birthday, but I didn’t know how many levels of quality there are in those things. That one is a light silver metal and doesn’t spin very long. Mrs. LeBrain’s is much heavier and spins much longer. I timed it once at 11 minutes! It so happens that Sunrise had a buy one/get one free sale on fidget spinners. So I bought the heavy one that Mrs. LeBrain owns, and a second metal one that looks like a ninja star!
Finally, some vinyl. There were plenty to tempt me, but I didn’t want some crappy reissue. I chose July Talk’s Touch. And it’s excellent! This band is impossible to describe. Lead singer/guitarist Peter Dreimanis has a whiskey soaked Tom Waits howl, but it’s his own twist. Leah Fay (lead vocals) contrasts Dreimanis, sometime delicate and sometimes loudly. There is nothing easy to pigeonhole on this album. They go from bluesy to punky to dancey. But always with a toe in another genre too. They get heavy and they get soft and every track is good.
Thanks Sunrise for another successful music run. It won’t be our last I assure you.
Did anyone in 2017 expect Styx to come out with one of the best albums of the year? Even though Styx have successfully carried on with Lawrence (But You Can Call Me Larry) Gowan on keys and vocals, nobody really predicted this! Yet here it is: The Mission, surely one of the best albums of the year so far,* and the best Styx in decades.
Here’s another unexpected twist: The Mission is a concept album about colonizing Mars! It has a coherent story and recurring hooks. In many ways The Mission sounds like a lost album from Styx’s progressive rock heyday. But you wouldn’t guess that if you only heard the Gowan-sung lead single “Gone Gone Gone”. Although it’s about a rocket launch, you might not catch that on first listen. The year is 2033. “Light it up, let’s get this show on the road!” This hard rocker came out of nowhere as one of the big surprises this summer.
“Hundred Million Miles From Home” (vocals by Tommy Shaw) has a funkier 70s groove.** When the band harmonizes together, it sounds like vintage Styx. “Hundred Million Miles” is a great song and also fairly accurate. Mars was 100 million miles away from Earth as recently as the 2012 opposition. Problems happen on “Trouble at the Big Show” (vocals by James “JY” Young), a slower groove with killer bluesy guitar work. This moves into the ballad “Locomotive”, about the brave pilot of the ship Khedive. Shaw pours passion into it, as he does the next one “Radio Silence”. Just as interesting as the actual music is the spacey backing sounds. It certainly adds atmosphere to an excellent vintage sounding song. “Radio Silence” recalls some of Shaw’s 70s hits like “Boat on a River” at times.
Gowan returns to the microphone on the lovely piano ballad “The Greater Good”. It sounds like quintessential Styx; hit quality material with soul. Things start to get upbeat again on “Time May Bend” (another Gowan vocal). If you’re not familiar with Lawrence Gowan, he is not a Dennis DeYoung clone, sounding closer to Steve Hogarth of Marillion. (He even looks a little like “H”.) Listen for a subtle musical “S.O.S.” signal in the backing track.
There are musical segues and radio voices between some tracks, but “Red Storm” is the next full song. It’s a very progressive song with all the trimmings. It’s based on Tommy Shaw’s excellent acoustic work, and it paints a picture. The crew of the Khedive must brave a dust storm on the surface of Mars. “Carry what you can, there’s no turning back, gonna make it to the mothership.” There are avante-garde flashes of guitar noise that emulates the squeals of a radio, or perhaps metal on metal. Then a rocking riff and solo…”Red Storm” has it all.
Gowan absolutely proves his mettle on the piano opus “Khedive”. The blur of piano recalls classical compositions, and the guitar solo is pure Queen. The minimal vocals continue the story: “Onwards! Onwards!” Then we revisit the sounds of the 80s on “The Outpost”, the triumphant conclusion to the story. The 80s synth and beats remind of the classic “Mr. Roboto” period of Styx, but it rocks solidly too. Listen for a reprise of the “Overture” music from the start for the album. Finally “Mission to Mars” is the denouement, a bright and lively end.
The Mission is brilliant for a number of reasons. First and foremost — great songs. You will play The Mission over and over, simply because it has great songs, as good as the days of old. Second, although Lawrence Gowan has his stamp all over the album, it sounds like Styx and nobody else. Having Gowan more involved is a good thing. He has a 40 year career in Canada, and he didn’t have enough time on the Cyclorama (2003) album. But this sounds way more like Styx than Cyclorama did. Finally, this album is loaded with incredible playing by all the members. This is easily the best lineup Styx have had since Kilroy Was Here (1983).*** Fans of the guitar (both electric and acoustic) will find many moments of musical ecstasy.
For Styx, this is mission accomplished!
5/5 stars
* One of the best album covers too. Is that a port hole, or a turntable? You decide.
** Bassist Chuck Panozzo plays the funky bass on “Hundred Million Miles From Home”, his only appearance. Chuck, the other original member besides JY, is only able to make sporadic appearances with Styx due to his battle with AIDS. Ricky Phillips plays the rest of the bass parts, meaning Styx have two official bassists!
*** Lawrence Gowan (piano/vocals), Tommy Shaw (guitar/vocals), James “JY” Young (guitar/vocals), Todd Sucherman (drums), Ricky Phillips & Chuck Panozzo (bass)
“I’ve been drunk from nine o’clock in the morning, ’til nine o’clock in the morning, because you’ve all been buying me drinks. You are sensational!” — Ian Gillan to the audience in Oslo
DEEP PURPLE – Nobody’s Perfect (originally 1988, 1999 Mercury 2 CD reissue)
Deep Purple are more than just a band, they are a legend. And as such we must judge them a little more stringently than the average band.
In 1988 Deep Purple were celebrating their 20th anniversary, but they were actually broken up for eight of those 20 years. And as it turns out, they celebrated their 20th by firing lead singer Ian Gillan! They also released this live album, which failed to excite the general public. Nobody’s Perfect is little more than a sub-Made in Japan.
It’s important to note, if you’re going to buy Nobody’s Perfect, there is no point in getting anything other than the 1999 2CD Mercury reissue. Originally, in order to get all the tracks, you had to buy the album on LP and cassette. The cassette had one exclusive track, “Dead or Alive”, a rarity from The House of Blue Light. The double LP had its own exclusive, “Bad Attitude”, another rarity from the same album. Meanwhile the single disc CD release was missing both these tracks and “Space Truckin'” as well. In other words, definitely do not buy the original single CD release which is the most incomplete of them all.
The big critique levelled at Nobody’s Perfect, then and now, is that the setlist was too safe and a repeat of stuff already released in live form. Ian Gillan himself was one who voiced that opinion. The cassette and LP bonus tracks go a long way to add value, since those songs were dropped after this tour. The only other place you can find live versions of “Bad Attitude” and “Dead or Alive” is the very expensive and out of print Bootleg Series 1984-2000. Otherwise, Nobody’s Perfect consists of all the same songs as Made in Japan minus “The Mule” and with a small handful of newer songs. The album is also sourced from many concerts around the world and completely lacks the flow that Made in Japan had (even though it was taken from three concerts itself).
The Deep Purple of 1987-1988 may have had the same members, but they still sounded very different from the Purple of 1972. Ian Gillan’s voice aged as all human voices do, and is the most notably different. Just as importantly though, Deep Purple had drastically cut down the soloing. That’s not a bad thing, but a lot of the shorter jams and solos sounded by rote in the 80s. One new highlight though is a bit of “Jesus Christ Superstar” in the middle of the “Strange Kind of Woman” solo section. Gillan was, of course, the original Jesus on the Jesus Christ Superstar album.
Whatever negatives may be applicable, when they rock they rock and when they roll they roll. “Dead Or Alive”, a new song, smokes the stage. “Child in Time” is probably the last decent version of the song released. “Perfect Strangers” and “Knocking at Your Back Door” were fresh and haven’t worn out their welcomes.
Finally there is a “Hush”, a re-recording of Deep Purple’s original 1968 single, captured live in a jam. This reimagining of the track has been dismissed as unnecessary but that is an unfair assessment. Ian Gillan and Roger Glover didn’t play on the original, so it’s actually cool to get a nice version with them. “Hush” in 1988 was a heavier track than “Hush” in 1968, but it’s still playful rock and roll.
As Purple approaches their 50th, Nobody’s Perfect has faded into the backdrop. As an official live album, it has its place in the discography. With so many superior official and semi-official live releases since, it is hardly an essential listen.
RITCHIE BLACKMORE’S RAINBOW – Stranger In Us All (originally 1995, 2017 Sony expanded edition)
Blackmore said “adios” to Deep Purple for the second and final time in 1993. He beat them to the punch with new music, in the form of a resurrected Rainbow…sort of. As he is prone to do, Blackmore assembled an all-new Rainbow of unknowns. The only familiar face was bassist Greg Smith who happened to be in Alice Cooper’s band when Wayne’s World was filmed. The new singer was the smooth-voiced Scot, Mr. Doogie White. White’s career almost broke in a completely different direction earlier, when he was one of two finalists in the running to replace Bruce Dickinson in Iron Maiden. It went to Blaze Bayley. Signifying new beginnings, Blackmore reverted the band’s name to Ritchie Blackmore’s Rainbow once again.
Back in 1995, my impressions of Stranger In Us All, the new album by Blackmore’s Rainbow, were significantly underwhelming. It has taken its time, but over the years the album slowly penetrated my stubborn refusal to accept it as legitimate. By now I think we know all Rainbow needs is the Man in Black. And there he stands on the front cover, pilgrim-hatted again, gloriously silhouetted against a cloudy sky.
The only serious weakness in Stranger In Us All has nothing to do with the lineup. The production (by Pat Regan and Blackmore) sounds low budget and the drums sound muddy. Blackmore’s guitar tone is thankfully impeccable and his neo-classical leanings on the first track “Wolf to the Moon” were refreshing. “Wolf to the Moon” is one song that has stood the test of time. It is thoroughly still enjoyable today, and Blackmore is unleashed. And the singer? It is true that Doogie White stands in the shadows of some great lead vocalists. I’ll resist ranking and comparing. White has a very smooth voice with impressive power and range, and he doesn’t sound like any of his predecessors. Where White really impresses is in live renditions. He is an entertaining and amicable frontman.
Track two brings a slower grind to Rainbow, and White slinks along with him, adapting perfectly to every vibe. Going slower still, “Hunting Humans (Insatiable)” really prowls. It is spare, dark and sweaty. Moving on to inspirational hard rock, Rainbow brings the harmonica-inflected “Stand and Fight”. What is not to like?
Rainbow ended the first side in typically epic fashion. “Ariel” was quite a track, featuring backing vocals from the lady who is now Ritchie’s wife, Mrs. Candice Night. She co-wrote a number of the album’s tracks including “Ariel”. This kind of thing is Ritchie’s bread and butter, he’s been writing epics like this since “Child in Time” back in 1970. As an added bonus, the extended edition of Stranger In Us All has the single edit of “Ariel”, trimming it to a tidy format-friendly 4:00. This is more like a re-edit, moving parts around and making it more compact.
They step on the gas again for “Too Late for Tears”. Side two has a couple “stock” rockers — “Too Late for Tears” and “Silence”. Good blood-pumping tracks, nothing to save for your greatest hits album, but decent enough. “Black Masquerade” is better, as it has a dark neo-classical edge. Thing go kind of goofy when they cover Grieg’s “Hall of the Mountain King” and add lyrics. They also have another go at the Yardbirds’ “Still I’m Sad”, this being the second time. The first Rainbow version was an instrumental. This one has vocals, and it’s pretty good. Just like with lead singers, I don’t think it’s worth comparing this version to the 1975 one. It’s unique enough that it’s almost two different things.
Back in 2013 I found the Japanese edition of Stranger In Us All at the 2013 Toronto Musical Collectibles Record & CD Sale for $15. Instant no-brain purchase right? Now that this expanded edition is out, I no longer need it in my ever-expanding collection. I am passing it on to massive Rainbow fan Brian over at Boppinsblog. Now that CDs are worth nothing, I like to pay it forward with my retired music. The expanded edition contains the Japanese bonus track, “Emotional Crime”. It has a cool, “smoove” groove and a bluesy feel. Think Purple’s 1988 remake of “Hush” in terms of vibe. The other extra tracks are the aforementioned “Ariel” edit, and a live take of the old Rainbow classic “Temple of the King”. This is and the “Ariel” edit are taken from the old out of print CD single. “Temple of the King” was recorded in Stockholm October 2 1995, meaning it is not the same as the one on the double live CD Black Masquerade. That was recorded exactly a week later in Germany. (Thanks to Scott the Heavy Metal Overlord for pointing this out.) It’s a brilliant arrangement giving Candice Night and Doogie White a chance to harmonize over a very quiet backdrop. The Man in Black whips out a solo that surely must be considered one of his most passionate.
That’s how this version of Rainbow succeeds — by a putting a fresh spin on it. You avoid trying to compare to other versions of the band and just enjoy. Ritchie reveals in the extensive liner notes that he wanted to call the band Rainbow Moon. And speaking of the liner notes, there are also recollections from Doogie White. In short this expanded edition is worth every penny, even if you’ve bought it before.
QUEENSRYCHE – Rage For Order (originally 1986, 2003 EMI remastered edition)
Every fan has their favourite Queensryche album. Whether it be The Warning, Mindcrime, Promised Land or Empire, there are plenty of great albums in their back catalogue. I used to seek the warm high of Promised Land when looking to chill with my favourite Queensryche. Now I look for refuge in the cold, technological sheen of their 1986 album Rage For Order.
Rage For Order was a challenging album in its time and today it is still complex. In 1986, fans questioned the gothy makeup and hair, not to mention the excessive samples and synths. Today you can look back and almost call Rage For Order the first progressive industrial metal album. It certainly has qualities from all three of those genres. Geoff Tate beat Trent Reznor to the punch by years. Rage seems to have a vague futuristic concept about a world of technology, revolution, and disconnection.
Although Rage For Order is certainly not an immediate listen, certain key tracks are commercial enough to keep you coming back. The first is “Walk in the Shadows”, one of the few songs to be played live fairly consistently over the years. “Walk in the Shadows” could pass as a hard rocking hit. For the first time Queensryche really proved they were more than a simple metal band. The slick production was completely different from their first two records, with the edge taken off the guitars and instead given to the computers and sequencers. They give the whole album a precise, punchy tech sound that is its own form of heavy. No wonder: Dave “Rave” Ogilvie was an engineer.
A dense ballad called “I Dream in Infrared” has sorrow, but flowing through the veins of a computer. Geoff Tate blows minds with his incredible voice and singing ability, layered for maximum effect. In 1991 it was remixed acoustically for a single B-side, and that version is a bonus track on the remastered edition. The original was perfect for what it was, but the acoustic mix is more accessible to outsiders. It ends suddenly and the metallic guitars of “The Whisper” enter, accompanied by clock-like percussion. Rage For Order has many songs with layered, overlapping vocals and you can hear that on the chorus. It is a cold, sterile but powerful track.
The strangest song was actually the lead single, “Gonna Get Close to You”. It was the only cover Queensryche ever put on one of their studio albums, a track by Canadian songstress Lisa DalBello. In the hands of Geoff Tate, it becomes a creepy song of a stalker with a strangely rousing pre-chorus. “You think I’m a fool or maybe some kind of lunatic? You say I’m wasting my time but I know what to do with it. It’s as plain as black and white. I’m gonna get close to you.” Cree-hee-eepy! Which is the point. The bizarre samples and synths only deepen the macabre. DalBello’s original is perhaps even creepier, but Tate’s pompous bravado adds its own slant. “If you knew my infinite charm, there’d be no reason to be so alarmed…”
As an added bonus, a 12″ extended version of “Gonna Get Close to You” is included in the bonus tracks, but like most extended versions from the 1980s, it’s very choppy and awkward.
Along with the technology, there is a theme of loneliness on Rage For Order, and “Gonna Get Close to You” plays into that. “The Killing Words” contains more heartbreak on the album’s second ballad (third if you count “Gonna Get Close to You”). Tate’s voice is drenched in pain. A 1994 acoustic version from the “Bridge” CD single is included as a bonus track.
“Surgical Strike” is a brilliant track, fast and heavy, and working with the technology. The lyrics are brilliant and quite prescient.
It’s lonely in the field, that we send our fighters to wander. They leave with minds of steel, It’s their training solution. We’ve programmed the way, It leads us to Order. There’s no turning back.
A Surgical Strike. We’ve taught them not to feel. performance is their task, A Surgical Strike, Its time is arriving now for you.
The plan for the day, will be swift as the lightning they harness. The atom display, It’s not mindless illusion, At master control, assessment will not, Be by humans. There’s no turning back…
It feels like this future is not very far off.
One of the most techy tracks is “Neue Regel”. Clockwork percussion, strangely computerized lead vocals, and intelligently used samples paint a scene of a future battlefield, complete with bomb-like drum sounds. The multi-layered chorus is one of Queensryche’s most perfect. Respect to Geoff Tate. When the man was at his peak, nobody could touch him, both vocally and as a songwriter. Of course one must also remember the other side of the equation, which was guitarist Chris DeGarmo. He has more songwriting credits on this album than Geoff Tate, including two solo credits (“The Whisper” and “I Will Remember”).
The future continues to look cold and dark on “Chemical Youth (We Are Rebellion)”. “Our religion is technology” is one line, and if only Tate knew how right he was! There is a still a spark of hope and that is the young. “Chemical Youth” is one of the heaviest tracks on the album, and sonically very interesting too. The next ballad “London” fades in with a synthy bass line. Loneliness returns. “There’s some things in life I could never face. The worst is being alone.”
The technology slant hits its peak on the brilliant “Screaming in Digital”. Describing this song can do it no justice. It is like listening to Queensryche within the gleaming sterile walls of the dystopian sci-fi classic THX-1138. There is far too much going on underneath it all to absorb in just a few listens. You will hear new sounds you never noticed before even 30 years later. Artificial intelligence has never rocked so heavy.
I am the beat of your pulse, The computer word made flesh, We are one you and I, We are versions of the same, When you can see what I feel, Don’t turn your back on me, Or you might find that your dreams, Are only program cards.
Fucking chilling!
“Screaming in Digital” must be counted on any list of Queensryche’s best music. It is sheer genius, far beyond what their hard rock peers were peddling. It was also years ahead of its time. By crossing digital techniques with heavy metal in such an intelligent way, Queensryche truly were breaking new ground.
“I Will Remember” is the final song, a ballad that seems to tie it all together. It has the feel of a lonely ballad, while lyrically tying up the technology concept. “And we wonder how machines can steal each other’s dreams.” Another Queensryche classic, including a genius DeGarmo acoustic guitar solo. Shades of the future “Silent Lucidity” too (also written by DeGarmo).
There are four bonus tracks including the three discussed above. The last one is a 1991 live version of “Walk in the Shadows”, which appears to be a mix of two different performances judging by the credits. Whatever the case may be, it’s cool to get a live version of this incredible song as a coda to the album.
Queensryche took the conceptual approach to its logical apex next time out with Operation: Mindcrime. They ditched the technology and went back to guitars and even added an orchestra. For that reason, Rage For Order is very unique in the collection. It was a sound they have never repeated. Operation: Mindcrime had a sequel, but Rage For Order never will.
Directed by Michael Crichton and featuring Gene Simmons
Being in was never enough for Gene Simmons. Dating Cher and Diana Ross gave him a taste of Hollywood stardom. He saw movies as his next mountain to climb. Gene secured an audition with novelist and sometimes director Michael Crichton. Crichton asked Gene to communicate, without saying any words, his desire to kill him. Whatever Gene did worked, and he scored the role without even having to read for it.
Crichton’s next film Runaway was a Tom Selleck sci-fi vehicle and Gene played the villain Dr. Charles Luther. Turning his back on Kiss and leaving Paul Stanley to do all the heavy lifting, Simmons cut his hair and got filming.
Set in the “near future”, Runaway depicts an America in which robots are commonplace. Every household has some, and they have failsafes built in to protect humans. Selleck played Jack Ramsay, a veteran cop now on the “runaway squad”, a quiet department dedicated to capturing errant robots. His latest case is a shocker. A robot has committed the first ‘bot-human homicide in history. What caused it to malfunction and deliberately kill its owners? Ramsay discovers a strange chip inside designed not only to override its safety protocols, but also to order the robot to kill. But who would do such a thing?
Who else? The evil Dr. Charles Luther played by the God of Thunder himself.
Dr. Luther developed new templates that allow robots to identify and assassinate specific humans. They are worth a fortune on the black market, and so Luther killed his partners and went rogue. However his ladyfriend Jackie (Kirstie Alley) doublecrossed him and stole the chips. When Ramsay and his cop partner Karen find Jackie, they narrowly escape Luther who was tracking her. Not only does he have killer robots, but also a huge-ass handgun that has homing bullets that can even turn corners. They try to set up him by having Jackie return the stolen chips, but in one of his best scenes, Gene Simmons stabs her in the back in the middle of a kiss.
Jackie didn’t turn over all the chips. Ramsay still has some. Being the evil genius that he is, Luther hacks the police computers and finds out where Ramsay lives. This leads to a very typical final confrontation, in which Luther kidnaps Ramsay’s son and brings him to an under-construction skyscraper. Of course he would. It’s a standard movie cliche involving elevators and heights. Conveniently, the movie establishes early that Ramsay has a fear of heights. Of course he does!
Luther does have one neat gadget for this long and fairly boring ending. He has robotic spiders that spit acid, programmed to kill anything that comes down from the building. Tom Selleck eventually bests Gene Simmons as you knew he would, but Gene also gets one of the cheesiest movie after-deaths you will ever see. You know those scenes when you think the villain is dead, but he’s not? Gene gets to make a funny face and go “RAAAAHHHHH!” before dropping down dead for real this time.
Michael Crichton was certainly a fine science fiction writer, with titles like Jurassic Park and The Andromeda Strain to his credits. As a movie director, he was less successful. The Great Train Robbery (1979) starring Sean Connery and Donald Sutherland, and based on his own novel, was his best work. Others point to Westworld (1973) as his best work as a director. The main point is, nobody looks to Runaway for movie gold. It’s sluggish, clunky and at times pretty goofy. As a science fiction film, it utilized intelligent concepts and envisioned a future that was very different for the cinema in 1984. Runaway had a story idea. Jack Ramsay was a complicated character, with a cliche but workable back story. It was just poorly executed. One redeeming value is its Jerry Goldsmith score, which was his first all-electronic soundtrack.
While Runaway isn’t considered Michael Crichton’s best film, it might be Gene’s. His next roles were less flattering. He played a transvestite villain in Never Too Young to Die with John Stamos. There was a cameo in the horror cult classic Trick Or Treat. Opposite Rutger Hauer, he played a stereotypical terrorist in Wanted: Dead or Alive. His last film before returning to Kiss full-time was an early George Clooney film called Red Surf. Gene was a friendly weapons dealer.
Meanwhile in Kiss, Paul Stanley had clearly taken over leadership. All the singles were his. Since Gene had short hair, he wore a pretty silly wig on stage with Kiss. None of this helped his image in the eyes of fans. He did earn a good review for Runaway from Roger Ebert, but otherwise the movie was a dud.
It’s true: By all measurements, Hero, Hero is an exploitive compilation of Judas Priest material. Their first record label, Gull, was prone to do this. However this is no typical “hits” set; this one is of interest to collectors and die hard fans.
Hero, Hero (named for a lyric from the song “Dying to Meet You”) was originally released in 1981 to take advantage of Priest’s rising star. The original two releases on Gull records, Rocka Rolla and Sad Wings Of Destiny, had been exploited previously in a compilation called The Best Of Judas Priest, which was a single record. Hero, Hero was a double record which included all of Rocka Rolla and most of Sad Wings, as well as the crucial Joan Baez cover, “Diamonds and Rust”, in an alternate take (previously heard on Best Of).
So, if you have all that material already, why is this album required at all? Cover art aside, of course. That cover (a pre-existing painting) is brilliant. There is also a Kiss bootleg called Barbarize with the same cover.
The reason is revealed in the liner notes. All of Rocka Rolla had been remixed for this release. Why is unknown, as that record sounded just fine for what it is. The remixes are, in general, not even all that different. The major changes are made during “Cheater”, the “Winter” suite, and “Rocka Rolla” itself, during which major portions of the songs are noticeably shifted around. “Rocka Rolla” has its verses rearranged, and there’s a burst of harmonica in “Cheater” where there never was before.
The remix done to Rocka Rolla doesn’t really add or subtract anything from the album, which makes it that much harder to understand why it was done. Why Gull records spent the money to remix these tracks is unknown, and the names of the engineers involved are a mystery. But there it is: Rocka Rolla remixed in its entirety but not in order, here on the Hero, Hero album. Because they’re less familiar to the ear, they sound fresh, but in many cases you’d struggle to point out differences. A little reverb here, a little echo there.
Highlights including a bluesy “Cheater” and the flanged chug of “Diamonds and Rust”. The six tracks from Sad Wings of Destiny are brilliant. “Dreamer Deceiver” and “Deceiver” are used to open this CD, but that is not the original running order. Normally the album begins with “Prelude” and “Tyrant”, also from Sad Wings. The original Canadian cassette version on Attic maintained the original running order with “Prelude” at the start. Essentially, the Connoisseur Collection CD has side one and side two flipped.
Fair warning to CD buyers: There are some shoddy reissues of this album that don’t have the remixed tracks. Transluxe is one such version. To make your life easier you might just want to look for an original 1981 LP. The pictured CD from Connoisseur Collection (1995) does have the remixes, so you’re good to go if you spot one.
– Animalize Live Uncensored(from 4 CD set Radio Waves 1974-1988) (2015 American Icons broadcast release)
The Animalize tour was the most successful that Kiss had done since the original lineup. It was an exciting stage show including a finale with the band playing on a levitating platform over the stage. It was logical to film the Detroit concert, returning to the Cobo Hall where much of Kiss Alive! was forged in 1975. It had been a long time since Kiss released anything live. The sequel album Alive II came in 1977, and then Kiss underwent radical upheaval and change, as we have documented through this series. In the 1970s there was a pattern: Three studio albums and then a live album. Animalize was the sixth studio album since Alive IIwith no Alive III on the horizon.
Fans had their own theories as to why Alive III never materialized when due, but it likely has a lot to do with the lineup changes, shifts in direction, and fading fortunes. These events all struck right around the time when the third live album would have been appropriate, but as Kiss replaced members and took off the makeup, they had to re-establish themselves as a valid, current entity not dependant on past glories.
The Animalize Cobo Hall concert that was filmed was released in 1985 as the home video, Animalize Live Uncensored. For an entire generation of Kiss fans, Animalize Live Uncensored was our own Alive III. You could break down KISStory up to this point into three distinct eras as seen in the chart below. Kiss had a whole new generation of fans, the MTV generation, who associated the makeup with ancient history. We didn’t have our own Kiss Alive. Without one, we made Animalize Live Uncensored into our unofficial Alive III.
Kiss were introducing yet another guitar player to the fans, but Bruce Kulick was fitting in great. Animalize Live Uncensored gave the fans at home a chance to check out his interpretations of new and old Kiss classics. He gave the Mark St. John tracks a smoother soloing style with more emphasis on hooky licks. The threw on tons of the flash that was in vogue at the time, but he didn’t showboat. He did exactly what the bosses (Paul and Gene) wanted, and he did it well enough to win over fans and keep the gig.
The Kiss of the 80s were way, way faster than the Kiss of the 70s. Eric Carr could play things that Peter Criss couldn’t, and speed was in fashion. Even old songs like “Cold Gin” and “Detroit Rock City” were sped up and 80s-ized. The fast stuff from their 80s albums, like “Fits Like a Glove” and “Young and Wasted” are done up even faster. Lots of songs by the original band such as “Shout it Out Loud”, “Christine Sixteen”, “Firehouse”, “Strutter” and many more were dropped in favour of new ones. “Under the Gun”, “Thrills in the Night” and “Heaven’s on Fire” were the newest, while plenty of songs from Lick it Up and Creatures were also retained. Using the chart above for reference, only five Kiss songs from the first two eras combined were included. The third era, never before represented in live form, gets ten tracks. The rest of the space is taken up by solos: Paul Stanley (guitar), Gene Simmons (bass) and Eric Carr (drums). There is no Bruce Kulick solo. As you have probably surmised, a Paul Stanley feature solo is as basic as they get, with Gene’s only a modicum more memorable. Eric Carr’s is fun and flashy — more so on video.
One big highlight of Animalize Live Uncensored is Eric Carr’s lead vocal debut on a Kiss release. The Fox was given “Young and Wasted” from Lick It Up to sing, in addition to Peter Criss’ part in “Black Diamond”. And so Kiss fans began a long and painful wait to hear him sing something on a Kiss studio album.
For dyed in the wool Kiss fans, Animalize Live Uncensored is universally remembered for mainly one thing: that is Paul Stanley’s epic song introductions. “Love Gun” is the most legendary, a tale of Paul “partying” too much and having to go to the doctor to get himself checked out. The nurse decides to “start this examination just a little bit early” and asks Paul to remove his pants…where she discovers his (wait for it) “LOVE GUN”! There are so many great Paul intros on this video that it’s worth checking out for them alone. Full visuals help.
But what about a CD release, for that generation of fans for whom this is their Alive III? There are options. None are perfect. In fact, there isn’t even a DVD version. There are only semi-official looking bootlegs and the old original VHS. For CDs, you must go with a radio broadcast release, and none are perfect. Single disc versions are obviously trimmed for time and usually have 15 tracks including a couple solos. There is also a two disc broadcast from WLLZ in Detroit which has all 18 songs and all the solos too. This is available on a quadruple disc set called Radio Waves 1974-1988, released in 2015.* It even has intros and raps not included on the original Animalize Live VHS release! “Black Diamond” has a much longer introduction and much of the talking isn’t available elsewhere. During the encores, they mess around with the traditional “Oh Susannah”. The other intros and raps, the classic ones, are edited or missing completely! You just can’t win.
Only one track from this concert has been officially released on LP and CD: “Heaven’s On Fire”, which was Kiss’ contribution to Ronnie James Dio’s Hear N’ Aid – Stars album in 1986. Kiss completists will want to make sure they have that one.
One could meticulously paste in all of Paul Stanley’s missing and edited stage raps, and add them to your tracklist. It would be bloody time consuming. You’d have to listen to your compiled creation a few times to justify the time spent putting it together. But it could be done. It really is a shame that this broadcast CD is a few intros shy of complete. The sound is iffy at times too, with a lot of static where there shouldn’t be. But for the time being, it’s the best we got.
ALICE COOPER – The Life and Crimes of Alice Cooper(1999 Rhino 4 CD set)
With the benefit of hindsight, 1999 was way too early for Alice Cooper to be looking back with a comprehensive box set. His new album Paranormal will be out this month. He’s been consistently touring and recording. The picture was different in 1999 though, since Alice had been quietly under the radar for much of the decade and there was no sign of new music coming.
This Rhino box set is pretty comprehensive. Though there are plenty more rarities out there to get on singles and elsewhere, Rhino served up a very generous selection of them. Starting in 1966 with singles by The Spiders and The Nazz, Alice’s sound begins to evolve. Those early bands were 4/5 of the original Alice Cooper group: only drummer Neal Smith had yet to join. The early singles are unfocused compared to what Alice was going to do in a couple years. “Don’t Blow Your Mind” and “Lay Down and Die, Goodbye” (sometimes known as “I’ve Written Home to Mother”) are sloppy psychedelia. “Hitch Hike” is like rockabilly. “Why Don’t You Love Me” is late 60s style rock and roll with a nice harmonica part. It sounds influenced by the Beatles.
A demo version of “Nobody Likes Me” is the first “official” Alice Cooper Group track and it sees the sound veer closer to where they were headed. It has a sing-song melody that recalls “School’s Out” later on. A few tracks from Alice’s first two albums (Pretties For You and Easy Action) demonstrate a work in progress. “Reflected” is an early version of something that would be re-written as “Elected”. The band was still very psychedelic and not as tight as they would become.
There is a sudden shift, and Alice Cooper emerges as the classic artist we know and love when he hooked up with producer extraordinaire Bob Ezrin. “Caught in a Dream” (a single edit) and a number of essential tracks from Love It to Death kick the box set right in the ass and it suddenly becomes a very engaging listen, when before it was just…interesting. A quintet of songs from the next album Killer are just as special, though including “Halo of Flies” would have been appropriate too.
Before heading into the School’s Out material there is a rare demo entitled “Call it Evil”. A small portion of the music would make it into the the classic West Side Story tribute “Gutter Cat vs. the Jets” (also included), but this is its own song and otherwise unreleased. The single version of “School’s Out” is an obvious inclusion, but these two are the only tracks from School’s Out, a baffling set of omissions. Granted, “School’s Out” plays like a concept album and is tricky to split up for a box set, but it is under-represented here, period.
Billion Dollar Babies is considered a peak of this period, and gets five tracks of its own, all brilliant. “Elected” is the single version. “No More Mr. Nice Guy” is a highlight of Alice’s entire career and it still sounds fresh. Another rarity ensues which is “Slick Black Limousine”, a UK exclusive flexi-disc release. It sounds more like early Alice Cooper group material, with Alice doing his best Elvis. The end of the original group was nigh, unfortunately, and Alice’s next album Muscle of Love was noticeably lacking something. Maybe it’s because Bob Ezrin didn’t produce it, but the band was also on the verge of splitting. Addictions were hurting them. They were still making great rock and roll, just not…as great. “Respect for the Sleepers” is a demo version of “Muscle of Love”, an unreleased track with lyrics inspired by Alice’s “dead drunk friends” (Jimi, Janis, Jim). There are more songs from Muscle of Love included than there were for School’s Out, which is odd but alright.
At this point, Alice split from the original band. Then there are a pair of rarities featuring Alice from an obscure rock opera called Flash Fearless Vs. the Zorg Women, Pts. 5 & 6. Before Queen, there was this Flash Gordon album and Alice’s tracks feature players like John Entwistle, Kenney Jones, Nicky Hopkins, Bill Bruford and Keith Moon as “Long John Silver”. “I’m Flash” and “Space Pirates” are mere curiosities, but it’s stuff like this that makes buying a box set so much more worth it. Where else would you hear these tracks? Both feature Alice’s delicious trademark sneer.
Alice’s solo career really began with 1975’s Welcome to My Nightmare. He and Bob Ezrin went all-in with an elaborate horror rock concept album featuring a number of classics. “Welcome to My Nightmare” and “Only Women Bleed” are single versions, and it’s fantastic that the blazing “Escape” was included. Another concept album, Alice Cooper Goes to Hell, was not as strong. Only two tracks are included, but both were singles. “Go to Hell” is a must-have.
The third CD in this box set commences a murky period. Alice was making albums frequently, but they weren’t as well received and many dwell in obscurity. Lace and Whiskey was pretty good, and “It’s Hot Tonight” is a great track to start the disc. Meanwhile, original band members Michael Bruce, Neal Smith and Dennis Dunaway formed the Billion Dollar Babies. They made one album called Battle Axe, and their cool rock track “I Miss You” is included. That’s a nice touch, because for the first seven albums those guys were as important as Vincent Furnier (aka Alice Cooper). Michael Bruce sings, but lead guitarist Glen Buxton was more or less incapacitated by addiction and wasn’t invited. “Battle Axe” sounds like a natural continuation of the Muscle of Love sound. A bunch more rarities are incoming: a torch ballad called “No Time for Tears” (unreleased) and “Because”, the Beatles cover featuring the Bee Gees. This was from that pretty mediocre Sgt. Peppers tribute album from 1978, so it’s great to be able to get it in a box set. Alice’s interpretation is creepy, and the Bee Gees are immaculate.
Moving on to his next solo album, Alice changed direction on From the Inside. He had just gotten out of rehab (an actual mental hospital) and made a concept album with David Foster and Bernie Taupin about the experience. The title track is included as a single version, and you also get the beautifully campy ballad “How You Gonna See Me Now”. It was a single too, and its B-side “No Tricks” is also included. It is a duet with soul singer Betty Wright. Disc three is generous in rarities. Another one called “Road Rats” (produced by Todd Rundgren) is a decent rocker from a movie called Roadies.
Alice moved into the 1980s on Flush the Fashion which employed some new wave and punk influences. Its two best songs, “Clones (We’re All)” and “Pain” are included. 1981 brought Special Forces and more rarities. “Who Do You Think We Are” is a single version, and “Look at You Over There, Ripping the Sawdust from My Teddy Bear” is a synthy unreleased song pulled last minute from the album. Then there is “For Britain Only”, the stripped-back rocker from the EP of the same name. “I Am the Future” is a single version originally from 1982’s Zipper Catches Skin. Completing this era (sometimes called Alice’s “blackout period”) are a pair of tracks from DaDa (1983). Alice had moved as far as he would go into the high-tech synthesizer direction, and he soon cleaned up for good. A couple odds and ends tidy up the tracks from this era. “Identity Crisises” and “See Me in the Mirror” are previously unreleased songs from the Monster Dog movie (1984) which starred Alice. These are very low-fi tracks, but “Identity Crisises” is actually pretty cool.
The final track on the third disc is the first one from Alice’s big comeback period. “Hard Rock Summer” is a fun heavy metal rocker from the Jason Lives soundtrack. It’s cheesy but also previously unavailable. The fourth and final CD picks up there, with two more rarities from the same movie. “He’s Back (The Man Behind the Mask)” is included in demo and movie mix versions. Onto 1986’s Constrictor LP, you get the enjoyable “Teenage Frankenstein”. By 1987 Alice was telling us to Raise Your Fist and Yell on “Freedom”. The excellent “Prince of Darkness” is also from that album, but then there are two more rarities. Alice cut a re-recording of “Under My Wheels” with Axl Rose, Slash and Izzy Stradlin for the movie The Decline of Western Civilization Part 2: The Metal Years. Unlike many re-recordings, this one is well worth it because hey, it’s Guns N’ fuckin’ Roses.
Alice’s sound got slicker moving into the late 80s. “I Got a Line on You” is a Spirit cover from the movie Iron Eagle II. There is a notable shift towards mainstream hard rock, and this spilled over onto the next album Trash (1989). This box set has three songs from Trash, but one is the irritatingly bad title track featuring Jon Bon Jovi. His sound got a little tougher on Hey Stoopid(1991) from which you get a single version of the title track, and “Feed My Frankenstein” (also from Wayne’s World). The Hendrix cover “Fire” is the last song from this period, which was a B-side. Unfortunately another B-side called “It Rained All Night” is a superior song, but not included.
Alice took another short break between albums before emerging in 1994 with another critically acclaimed concept album, The Last Temptation. Alice shed the trappings of the 80s and the album is held in high esteem today as a diverse combination of the 70s and 90s. Three tracks represent it, but it’s hard not to wish “Side Show” was also included.
The Last Temptation was Alice’s last studio album when this box was released in 1999. In the meantime, Alice made friends with Rob Zombie who was obviously influenced by the Coop. They collaborated on a song called “Hands of Death (Burn Baby Burn)” for an X-Files CD. This box set has the unreleased “Spookshow 2000 Mix”. The track points in the direction of Alice’s next album Brutal Planet.
This box set is quite an epic journey, with many facets and side roads. A trip like this needs an appropriate closing, and Rhino did something interesting to do that. They broke the chronological format they used for the majority of the set, and slid in the acoustic rocker “Is Anyone Home?”. This was a studio track included on Alice’s 1997 live album A Fistful of Alice. This serves as the climax, and “Stolen Prayer” from The Last Temptation is the finale. “Stolen Prayer” is a powerful duet with the late Chris Cornell. It was always a perfect closer, but now it’s…also sad.
It should be obvious now that The Life and Crimes of Alice Cooper is a worthwhile box set even for fans who own every album. The wealth of rarities are just a taste, but they certainly scratch a lot of track off of collector’s lists. Many remain exclusive to this box set. On top of that, it is simply a good listen, bumpy start aside.
was never enough for Gene Simmons. Dating Cher and Diana Ross gave him a taste of Hollywood stardom. He saw movies as his next mountain to climb. Gene secured an audition with novelist and sometimes director Michael Crichton. Crichton asked Gene to communicate, without saying any words, his desire to kill him. Whatever Gene did worked, and he scored the role without even having to read for it.
mikeladano.com 