One of the great Unplugged albums of all time…isn’t even an “official” Unplugged album. That would be Tesla’s spontaneously released Five Man Acoustical Jam from 1990. Its hit single “Signs” absolutely helped set up the MTV Unplugged revolution.
With no intention of creating a live album, Tesla played a few acoustic gigs on off days and then recorded the Philly show for the archives. However a radio station in Boston started playing an acoustic rendition of “Signs” and plans were put in motion to capitalize. Thus Five Man Acoustical Jam came to be, a highlight of the Tesla catalogue that was almost completely unplanned.
“We’re just fuckin’ around tonight!” says singer Jeff Keith before “Heaven’s Trail”. Well then Tesla should spend more time fucking around. The looseness of the songs was so fresh for 1990. Tesla rolled the hits: “Modern Day Cowboy”, “Gettin’ Better”, “The Way it Is”, and of course “Love Song”, the only one with an electric solo. But because they were “just fuckin’ around”, there are also some very interesting covers: Beatles, Stones, the Dead, CCR and of course the Five Man Electrical Band. Tesla’s version of “We Can Work it Out” is awesome and incredibly fun. Less so with the Stones’ “Mother’s Little Helper” which is an unusually structured song to start with. “Lodi” by CCR was custom made for Tesla. “Signs”, of course what the smartest cover song decision the band ever made.
Five Man Acoustical Jam is a live album held in high esteem, for many good reasons.
1. A great selection of original material (old and brand new) that worked well in the acoustic format.
2. Choice covers.
3. Terrific recording, and 100% live with no fixes or overdubs.
4. Expert musicianship.
5. Humour.
Frank Zappa asked “Does humour belong in music?” The answer is “Sometimes”! One of those times is a loose, fun acoustic show. They could get away with playing a joke track like “Tommy’s Down Home”, written and sung by guitarist Tommy Skeoch. “I’d like to cut the balls off a long-haired hippie, and tie them up to a tree,” he sings gleefully.
The one single was the smash hit “Signs”, and it had a non-album B-side. “Little Suzi” (also a cover, but an earlier one) might be from the same gig. Jeff’s voice is shredded on this one, but it’s hella cool.
It’s probably fair to say that Tesla are underrated. They get stuck on tours with bands like Poison, who have nothing to do with the rootsy rock that Tesla has on offer. Tesla are better than that, and Five Man Acoustical Jam is actually a bit of an essential classic to own. The irony is that Tesla’s most definitive live album is the one that was basically a fluke!
Animalize: a huge hit not proportional to the quality of the songs inside. It went platinum on the strength of lead single “Heaven’s On Fire”, but going deeper into the record, Kiss did not have the goods this time.
New guitarist Mark St. John (formerly Mark Norton) replaced the fired Vinnie Vincent, and in doing so, continued Kiss’ quest for shreddery dominance. In the 80s you had to have an Eddie Van Halen or Yngwie Malmsteen to get noticed, or so it seemed, and that was what Kiss went for. In the meantime, Gene Simmons was off in Hollywood leaving Paul Stanley to do handle Kiss, something Paul eventually came to resent.
Paul Stanley re-teamed with his songwriting buddy Desmond Child. Their last collaboration was 1979’s disco hit “I Was Made For Lovin’ You” from Dynasty. The partnership struck gold a second time with “Heaven’s On Fire”, a simple song perfectly suited for the Kiss of the 80s and beyond. Paul Stanley’s “Woo-ooo-ooo-ooo-OOOOO-ooo” intro is legendary and truthfully a song like “Heaven’s On Fire” isn’t too far removed from classic Kiss. Paul’s sassy delivery is enviable.
Desmond Child also co-wrote the opening number “I’ve Had Enough (Into the Fire)”. As the 80s began, Kiss seemed determined to write fast songs for their albums. Very fast songs. “I’ve Had Enough” is one of those, and it’s a good one too, though it was rarely played in concert. You’d never guess Desmond was involved without reading the credits, but you’d also not imagine it was Kiss if it wasn’t Paul singing.
Another fine Paul song called “Get All You Can Take” is a co-write with Mitch Weissman whose name has repeatedly popped up on Kiss credits over the years. This slow paced sleazy rocker has one of the few Kiss f-bombs in the chorus: “What fucking difference does it make?” Mark St. John’s solo is a blazing showcase of different tricks and techniques, but it suits the song rather awkwardly like an ill fitting tux. Such was the problem with a jazz-influenced shredder in Kiss.
Another fast number is “Under the Gun” written by Paul, Desmond and drummer Eric Carr. This one was played frequently on the Animalize tour though there are better songs. Fluttery guitars sound like laser beams zipping back and forth. Carr kicks ass, but it’s not a great track. Paul gets in a cute double entendre though: “There’s no speed limit where I’m coming from…let’s hit the highway doing 69!”
The final Paul song is probably the best one, although he has since criticized it as not good enough. “Thrills in the Night”, co-written with Jean Beauvoir, deserves praise. Sometimes the artist is their own worst critic, but “Thrills in the Night” is awesome, dramatic Kiss rock. The chorus goes on for weeks and the soloing fits.
If Animalize was a Paul Stanley solo EP, there would be enough good songs to give it a passing grade. However…we have the Gene Simmons songs.
Animalize shall forever be cursed as the album with the lyric, “I wanna put my log in your fireplace.” Yes, the man who once wrote a song with Bob Dylan also wrote a ditty called “Burn Bitch Burn”. The riff is awesome. It has its moments. It’s also undeniably one of Gene’s worst lyrics, and that is saying something. The song also sounds unfinished, as if he said, “OK good enough, onto the next song.” Fortunately Mark St. John’s solo playing is awesome, though not especially accessible. And that’s Gene’s best song on the album.
Gene’s other songs are “Lonely is the Hunter”, “While the City Sleeps” and “Murder in High Heels”. Of these, “Lonely is the Hunter” is by far the best. A slow sleazy groove is more up Kiss’ alley than these fast speed rockers. All three of these songs have one quality in common with “Burn Bitch Burn”, and that is that they sound like rough ideas gone unfinished. Animalize was produced by Paul (with a co-producer credit for Gene). A Kiss producer like Bob Ezrin likely would have told Gene to go back and come up with better material. The most interesting thing about “Lonely is the Hunter” and “Murder in High Heels” is the solo work. It’s stellar. It’s not overdone. It’s melodic and memorable. And it’s…familiar. Future Kiss guitarist Bruce Kulick stepped in to play ghost guitar on these songs.
The trend of Kiss using uncredited outside musicians was growing. Allan Schwartzberg (who also played on The Elder) did drum overdubs. Jean Beauvoir played bass on “Under the Gun”. Gene played the rhythm guitars on his own songs. That’s why the credits on Kiss albums always simply state: KISS – and the names of the members.
Gene cut his hair short for a movie called Runaway. He starred as the villain (of course) Dr. Luther, opposite Tom Selleck. Kirstie Alley was in it, and it was written and directed by Michael Crichton. Considering the year and the names involved, this was a fairly high profile role. Gene went for it, and has since admitted his brain wasn’t in Kiss at the time. The wig he wore on stage with the band made him look silly, and new fans considered Paul the singer and Gene a secondary guy. Gene’s songs weren’t singles anymore. They weren’t being played live. “Burn Bitch Burn” was only ever played once! These were all clues as to what was going on behind the scenes. Paul was sailing the ship now. He had no choice. Animalize suffers for it. Gene is to blame for his own downfall during the period and has since gracefully accepted that.
The Animalize tour was the biggest Kiss had done since the glory years, but troubles began early. Mark St. John couldn’t play. He was diagnosed with an arthritic condition called Reiter’s Syndrome. His hands swelled up and he simply could not do the gig. Mark passed away in 2007, but suggested that the arthritis may have been triggered by stress. The aforementioned Bruce Kulick stepped in to take his place, and did so with professionalism and respect. He got along with everyone. He was willing to learn. He was a great fit. The first great fit in many years.
The Animalize period put Kiss on MTV and on back the radio again, but its success was vastly disproportional to its quality.
Today’s rating:
2/5 stars
Uncle Meat’s rating:
2/5 steaks
Meat’s slice:There really isn’t much to say here. “Heaven’s on Fire” is a good song that I still enjoy hearing. Everything else is OK at best and non-essential. “Burn Bitch Burn” might have some of the worst lyrics of all time.
RICH ROBINSON – Got to Get Better in a Little While (2016 Universal 10″ clear single for Record Store Day)
This really pretty record (a single or an EP, who cares?) was found on the Taranna 2016 expedition with Mr. Books. It’s apparently a Record Store Day exclusive from April 2016, although I had no problem getting this one for $16.99 in October. This my first purchase of anything by Rich without his brother Chris. Knowing the Black Crowes, I was fairly certain it wouldn’t suck. I was still surprise to see on the back, an ad for not one not two not three but FOUR Rich Robinson “Expanded Editions” on CD and LP! Who knew? Not this guy!
“Got to Get Better in a Little While” is a Derek and the Dominoes cover, apparently one that Crowes used to do regularly, as does Rich. You have to hear this if you like bluesy rock that produces pure smoke from sheer musical chemistry. Yes, Clapton is God and the original can’t be touched, but a real jackass could easily make this song sound like shit. Rich does the opposite, and it sounds as part of his musical being. There’s some deep bass that just cuts through, and this goes on for eight and a half minutes of jam session heaven. Just bop along.
The second side has two Rich originals. Greasy late night blues is on the menu. “Look Through My Window” sets a scene of steamy Tennessee dusk. Brilliant stuff for any fan of slippery slidey guitars. Then an acoustic/electric tune called “Falling Away” closes on a first light of a quiet dawn. Great tunes, both, making up a tidy little 16 minute EP. Or single. Whatever!
The vinyl itself is clear and thick. The package doesn’t say anything about clear vinyl, but you almost expect clear or coloured when you buy these limited editions. It looks lovely spinning with its green label. Great little EP, reasonably priced for the collector and fan.
Ozzy Osbourne has done lots and lots of tours since his “No More Tours Tour”. It seemed special at the time, because we thought Live & Loud was going to be the last live album. It was not. What was supposed to be a definitive and indispensable capstone is just another live album, only really notable for its packaging.
Let’s start there. If you buy this album, don’t buy the remastered edition in the jewel case. This album didn’t need remastering a couple years later. Why would it? Instead search for the original digipack with the metal speaker grille cover. Finding one in good shape can be a challenge. Unfortunately, the metal grille is not removable although the VHS release did have a removable grille. The release also came with two Ozzy “temporary tattoos” on little 2″ x 2″ sheets of paper. These are the first things to get lost and you might want to consider that you’ll never find them.
Live & Loud scores an A+ for packaging, but gets mediocre grades for the music. This is patched together from a variety of recordings, and it sounds like a lot of fixing was done after the fact. It’s bogged down with over-long guitar and drum solos (Zakk Wylde and Randy Castillo) and too much talking. There is only so much that one needs to be told to “go fucking crazy”. Ozzy proclaims that he loves us so often that it loses all meaning. He’s more of a cheerleader than a singer at times, constantly badgering the crowd to get “louder”! There is also an annoyingly long intro that means nothing without the visual accompaniment that’s supposed to go with it. I will admit that my buddy Peter and I were amused when Ozzy said “Let me see your fucking cigarette lighters” during “Mr. Crowley”.
On the plus side, this particular lineup of Ozzy’s band was one of his strongest. Zakk and Randy were joined by bassist Mike Inez who was invited to join Alice in Chains in 1993. Another plus is the presence of Black Sabbath. The second to last song is “Black Sabbath”, performed by the original Black Sabbath, at the final show on the tour. Fans will recall that Sabbath were touring their incredible Dehumanizer album, which frankly blows away Ozzy’s No More Tears. When Sabbath (then including Tony Iommi, Geezer Butler, Vinny Appice and Ronnie James Dio) were asked to open for Ozzy at his final two concerts, Dio bailed. He was replaced for those shows by a little known metal singer named Rob Halford. At the last of the two shows, the original Black Sabbath featuring Ozzy Osbourne, Tony Iommi, Geezer Butler and Bill Ward reunited to play a three song set. It was their first time together since Live Aid in 1985.
Unfortunately, a couple tracks aside, Live & Loud is flat and uninspired. “Black Sabbath” isn’t brilliant but at least it’s historic. All the important songs are there, with maybe a few too many from No More Tears. There is one surprise in “Changes”, the old Sabbath classic. This is performed by Zakk on piano and Ozzy. It’s brilliant and was used as the single. “Mr. Crowley”, “Shot in the Dark” and “Desire” are pretty good, but drummer Randy Castillo was killing it. He was the perfect drummer for that band. Rest in peace Randy.
Live & Loud is for the serious fan only, who will really want to get the grille cover. Live & Loud is not consistent enough for the average listener and gets bogged down in spots making it a very long run.
AMERICAN DAD! – “My Morning Straitjacket” (Episode 7, season 5)
Has Stan gone too far this time? Daughter Hayley has gone to a rock concert! According to a furious Stan, rock concerts are “the devil’s music! It’s the number one cause of school violence, teen pregnancy and leather pants!” But My Morning Jacket are “awesome” according to Hayley, and she plans on going again the next night, until Stan confiscates the tickets!
Fortunately for Hayley, mom Francine understands rock and roll. She used to get backstage the hard way, not like today with those sissy radio giveaways. She secretly returns the tickets to Hayley, infuriating Stan. Using his CIA noise-cancelling earplugs, he goes to the concert to “rescue” his daughter. “Idiots! Paying good money to hear something they already heard on a record!” But when he removes his special earplugs, he hears the music…and finally feels something! Where Stan used to feel only anger, he now feels everything!
Jim James has an “angelic” voice according to Stan. “He makes Enya sound like a Russian couple arguing at the bowling alley!” He can’t get enough. “I want to hear all their music! Right now!” This leads to an unhealthy obsession with the band, accompanied by a smorgasbord of their songs: “Wordless Chorus”, “Touch Me I’m Going To Scream (Part 2)”, “I’m Amazed”, “Remnants”, “Highly Suspicious”, and “Phone Went West”. The animation for Stan’s musical fantasy sequence is suitably trippy. Stan flies through space carried by owls, with My Morning Jacket singer Jim James riding on his back! As usual for Stan, his obsessive behaviour leads to neglect for his family and job. Something has to be done! The final straw is when Stan spends $900 on a bootleg CD of Jim James gargling in the bathroom before a show.
Stan is under the delusion that he and Jim James are soul mates, so Roger the alien comes up with a plan. Dressed as his groupie persona Abbey Road (“I’m Abbey Road, and when it snows I need to be plowed!”) they go to follow My Morning Jacket and meet Jim James. When they finally encounter James in person, he convinces Stan that he already has a real soul mate — his wife Francine.
The music of My Morning Jacket is diverse and entertaining, and although their softer moments are a bit limp, when they rock they rock. As for this episode? It rocks.
IRON MAIDEN – Another Live (1981 recording, 1990 CD release by Metal Memory)
Maiden Japan is legendary. It is a crucial EP for all Iron Maiden fans, but also a good solid find for any metal fan in general. It was recorded May 23 1981 in Nagoya Japan. The live bootleg that we are looking at today also claims to be from that same show. That claim appears to be bogus. An A/B test on the track “Remember Tomorrow” reveals they are definitely not the same vocal performance. Maybe this CD is taken from a show on the same tour, such as Osaka or Tokyo.
Regardless of the whens and wherefores, Another Live presents a rare treat indeed, a live CD featuring Paul DiAnno on lead vocals. It is the Killers lineup: Paul, Steve Harris, Dave Murray, Adrian Smith and Clive Burr. A young Iron Maiden just before hitting the crest of their wave…there isn’t much out there officially released besides Maiden Japan. There are a number of tracks on the rare and expensive box set Eddie’s Archive, and a handful B-sides. For that reason, if you stumble upon Another Live, you may as well go for it!
The audio is surprisingly great for a boot, almost official quality, except scratchy in some places. It might be a rip from a previous vinyl edition. Unfortunately the set (wherever it was) has a few songs chopped out for time, and therefore you’re missing some of the best. “Running Free”, “Prowler” and “Phantom of the Opera” would have been nice to have. On the other hand there is the track “Another Life”. You will not find any official live versions of it with Paul singing. The only officially released ones have Bruce: one from Beast Over Hammersmith and one from “The Trooper” 2005 7″ single. Then we have “Twilight Zone” which you won’t find in live audio form anywhere officially. There is definite value here in the way of rarer songs.
The performance is stellar. A serious highlight is Dave Murray’s guitar solo on “Strange World”. Each member has the energy of a teenager and they just blast through. The only speedbumps really are the awkward edits between songs. They are not done well and it’s too bad because the CD is only 51 minutes. However if Another Live did come from an earlier vinyl bootleg, that would explain the shorter running time.
Get it if you find it. You may not play it often, but your Maiden collection will be that much cooler.
During my first few weeks at the Record Store, one of the new releases I got to deal with was the new Tesla, Bust a Nut. My boss cracked open a copy to play in store, but he wasn’t impressed.
“It sounds the same…” he remarked. “It’s just the same.”
Gosh, Tesla didn’t go grunge or rap in 1994? What a crime. No, instead Tesla stubbornly continued, as they always have, without bowing to trends. Bust a Nut wasn’t a successful album, but it was a damn good one. To call Bust a Nut “the same” sells it short. It sounded like Tesla, but a tad heavier and more diverse. Of course, this being Tesla, there must be ballads too.
“The Gate” invites you in via chugging guitars and squealing six-strings. It merges into “Invited”, a hell of a fine introduction. “Invited” reflects the light and shade of Tesla in one song: the mournful acoustic verses, the heavy and catchy choruses, all grounded in a solid classic rock vibe. Tommy Skeoch and Frank Hannon made one fine guitar duo, and the layers of instrumental goodness will keep you interested and digging for more. Heavier still is “The Solution”, which is about as metal as Tesla have ever been. Songs about environmental conservation are more relevant than ever: “Mother nature’s on her knees, and we’re the reason for her disease.” Very true, Jeff Keith. “If we’re gonna make it through tomorrow, the solution is to make a change today.” Tesla have never used such a grinding, detuned riff like this before. What’s this about it being “just the same”? Tesla didn’t go grunge, but they were able to go harder within their own style.
A brilliant track called “Shine Away” uses the soft/loud dynamic popularized by grunge, but that chorus is brighter than the sun. Enjoy some patented Tesla guitar harmonies which always sound as if inspired by Thin Lizzy, though this time verging on Iron Maiden! Time to cool things down with a ballad, and “Try So Hard” is a lovely one in the acoustic mold. A good variety of tunes occupy the rest of side one, but the next obvious standout is “Action Talks”. This is as angry as Tesla get, even dropping a “fuck you!” in the lyrics. It’s difficult to imagine that the same band can do “Action Talks” and “Try So Hard”!
Bluegrass and heavy bluesy rock collide on “Mama’s Fool”, as Tesla have never been afraid to mix genres. Sharp fans will recognize the opening and closing acoustic patterns as the same as “Government Personnel” from Psychotic Supper (1991). A slamming beat drives the tense “Cry”, a killer track based on a simple riff. Dig that theremin! “Rubberband” returns to the soft/loud format, and the loud part is fucking killer. The chorus goes on for days and sticks like glue. Another heavy groove called “Earthmover” earns its title, but some of the best tracks on side two are the ballads. “A Lot to Lose” is likeable, and “Wonderful World” begins with a southern acoustic flavour. Best of all is the fun closer, the old Joe South hit “Games People Play”. It’s Tesla-fied, and the sitar is ditched in favour of more traditional rock instrumentation. It’s transformed into a soul-gospel-rock and roll good time.
Tesla fired Tommy Skeoch (too many drug problems) and went down to a quartet before splitting up. Thankfully they have enjoyed a long and quality-driven reunion since 2001. Bust a Nut is an unsung highlight of their catalogue, and an album you’d be well advised to pick up.
The 80s were bumpy for AC/DC. Back In Black was massive. For Those About to Rock was almost as big. Flick of the Switch was a solid ball of rock, but things were uneven and some songs were filler. Fly on the Wall has its detractors for its muddy sound, and Blow Up Your Video was mostly a snooze. For their 1990 comeback, AC/DC got Canadian mega-producer Bruce Fairbairn involved.* He had a huge run of hit albums most notably by Bon Jovi and Aerosmith. Could he work his magic with AC/DC?
Bruce was one of the biggest names around, but having a hitmaker like him working with AC/DC was bound to affect their sound. Not too much of course; this was AC/DC after all. But Bruce did offer a cleaner sound, and there is no question it worked. To the tune of five million copies! Another change was bringing in ex-The Firm drummer Chris Slade after the departure of Simon Wright, who joined Dio. The bald-headed beat keeper became a fan favourite very quickly. (Slade is once again the drummer of AC/DC today after replacing Phil Rudd.)
Debut single “Thunderstruck” has deservedly become a classic in the pantheon of AC/DC classics. It was immediately obvious that AC/DC toned down the bluesy leanings of Blow Up Your Video in favour of rock and even arguably metal. “Thunderstruck” is heavy metal, especially with that fluttery Angus Young lick that dominates the song.
Chris Slade’s hyper-caffeinated drum stylings really impact “Fire Your Guns”, one of the fastest and most fun AC/DC tracks in recorded history. Any AC/DC song that involves them yelling “fire!” is guaranteed to thrill. Not to be ignored is bassist Cliff Williams who is effortlessly locked in with Slade. And sonically this is the best sounding AC/DC stuff since Back in Black. Singer Brian Johnson said at the time that Bruce Fairbairn encouraged him to scream more like the old days.
Another huge single was the plucky “Moneytalks”, bringing the groove down to a perfect mid-tempo. The main thing is the hook of the chorus. Though all songs were written solely by the Brothers Young, you can hear Bruce Fairbairn’s impact. It’s tight and focused more than AC/DC had been last time out. No doubt Bruce acted as a brutal editor in the studio when necessary, and must have had a role in shaping the songs to their final form. Listen to the layers of vocals on the chorus and tell me that’s not Bruce’s doing.
Some of the best AC/DC tracks in history have been deeper album cuts. The title track is one such song, an ominous almost-epic. “The Razors Edge” refers to a storm front on the horizon, and the song has that kind of foreboding feel. Unfortunately this friggin’ incredible construction of guitars and screams is followed by a novelty track. A seasonal novelty track. “Jingle bells, jingle bells, jingle all day the day. I can’t wait til’ Christmas time when I roll you in the hay.” This song should have been axed and saved for a compilation or single, where it actually could have had some impact. Not that it’s not fun; it is! But who wants to listen to jingle bells on track five of an AC/DC album? “Rock Your Heart Out” closed the side with the dubious distinction of being the first obvious filler song.
The third single “Are You Ready” was the opening track for side two. Good tune, nothing particularly special, but good enough for an AC/DC album. “Got You By the Balls” is an amusing title, but not a memorable song. It has a menacing bite, but not enough hooks. There’s a definite “side two slump” as none of these songs are as good as the first batch on side one. “Shot of Love” is OK. Things get back on track with “Let’s Make It” which might have made a great single itself. It has an old-timey rock and roll feel, and a slow groove. That classic rock and roll sound isn’t heard frequently on The Razors Edge. “Goodbye and Good Riddance to Bad Luck” isn’t shabby but veers close to that filler territory. Finally The Razors Edge comes to a campy end with the unusual “If You Dare”. Fortunately it’s a great, hooky little closer.
As it turns out, The Razors Edge was a one-off of sorts. It spun off a successful live album, also produced by Bruce Fairbairn, but that was the end of their partnership. A 1993 single called “Big Gun” sported a ballsier sound provided by Rick Rubin who went on to do their next album as well. The Razors Edge is also the only studio album with Chris Slade. Phil Rudd returned, reuniting the classic Back In Black lineup. No one will question that Rudd is the best fitting drummer that AC/DC have ever had, but that doesn’t negate Chris Slade’s contribution. Slade and Rudd do not sound alike, and therefore AC/DC acquires a different flavour with him in the band. His cymbal work is enviable and nobody can play “Thunderstruck” like Chris Slade, period.
3.5/5 stars
*Much to the upset of the Scorpions who had tapped Bruce to do their next album Crazy World. That didn’t happen because of the AC/DC job.
DIO – Finding the Sacred Heart – Live in Philly 1986(2013 Eagle records)
The King of Rock and Roll rolled into Philly with a new axeman. Vivian Campbell bitterly departed and was replaced by Craig Goldy of Ruff Cutt. Goldy had a flashier style, a bit heavier on the shred. The Sacred Heart tour was a big deal, and I can distinctly remember seeing TV ads for the Toronto show. They had their big dragon on stage, a crystal ball, and Accept as the opening act. The Philly gig was filmed, and so today we have this double live album to enjoy.
As it did on Sacred Heart, “King of Rock and Roll” opened the set with a flurry of speed. Another newbie, “Like the Beat of a Heart” goes over well with an extended solo by Goldy including a nod to Blackmore. “Don’t Talk to Strangers” is the first Dio classic in the set, though “Hungry for Heaven” was a top 30 single.
Dio had so much material to play (including his past with Rainbow and Black Sabbath) that a lot of the biggest songs are jammed into medleys. “The Last in Line”, “Children of the Sea” and “Holy Diver” are truncated into eight minutes. “Rock ‘N’ Roll Children” is joined with the Rainbow classics “Love Live Rock ‘N’ Roll” and “Man on the Silver Mountain”. It seems a shame that there are guitar solos, a drum solo, and even a keyboard solo, but all these classics had to be crammed together into medleys. “Heaven and Hell” is complete at least, but Claude Schnell’s keyboards sound out of place on this Sabbath cornerstone.
1986 was one of many prime periods for Dio. Your perception of this CD set will largely hinge on how much you like Craig Goldy vs. Vivian Campbell. Goldy was a fine replacement though his shredding often sounds like a green kid just going for it. There is plenty of great Dio material to enjoy, all killer no filler from start to finish…solos aside that is. There’s even a live version of the smooth “Time to Burn”, the first new song with Goldy from the Intermission EP.
There is a nice selection of live Dio available on the market. Finding the Sacred Heart would be a great choice for most, but if you want Dio live with Vivian Campbell, probably best to go for the Donington 1983 & 1987 set. This one certainly sounds excellent, it’s a beautiful recording and mix.
For the first time in my life, I bought a CD that sounded so shitty, I couldn’t even stand to listen to it. I knew that the bootleg CD, Kiss Demos 1981-1983 wasn’t going to sound terrific, because my neighbor George had a version of this on LP way back in the day. I didn’t know it was going to sound this horrid.
Demos 1981-1983 collects some Kiss and assorted tracks, from some very dubious sources. It sounds like 12th generation cassettes, complete with music bleeding through. You can actually hear “Tokyo Road” by Bon Jovi bleeding through on track 7. Enjoy the tape drop-out and inaudible drums too. There are some interesting bits here, and some useless ones.
You can divide this CD into three sections. The first six tracks seem to be Vinnie Vincent demos. They include “Boyz Are Gonna Rock”, which evolved into two separate songs. The verses became “And on the 8th Day” by Kiss, from the 1983 album Lick It Up. The choruses became “Boyz Are Gonna Rock” from Vinnie Vincent Invasion’s debut LP. These demos reportedly feature Vinnie himself on lead vocals, and he does a fine job of it in fact. Why did he even need a lead singer? Another curious track is “Back on the Streets” which Ace Frehley was known to play live before his first Frehley’s Comet album. In fact the Comet band covered it on the tribute album Return of the Comet, and Vinnie put it on the first Invasion album. Finally there is the track listed on the back as “Your Baby”. This is actually “Baby O” also from Invasion’s debut.
Moving on from the Vincent tracks, there are a few Kiss demos supposedly from The Elder sessions. These include titles that are probably made up: “Heaven”, “The Unknown Force” and “Council of the Elder”. They are accompanied by an instrumental demo of “A World Without Heroes” and the original Frehley version of “Dark Light”, called “Don’t Run”. These are actually really cool skeletons of tracks. The one titled “Unknown Force” is a bass-led instrumental, and it has a funky little guitar part that is insanely nifty, but it’s just one idea that needs to be fleshed out. Then there is “Heaven” which fans today know better as “Carr Jam” (on Kiss’s Revenge) or “Breakout” (on Frehley’s Comet). Eric Carr wrote this riff for The Elder sessions and though Kiss didn’t use it, Ace did. “A World Without Heroes” is an instrumental on which you can barely hear guitars. Finally there is the track called “Council of the Elder” which could be the best of the lot. It has a Zeppelin-y beginning reminiscent of things like “Thank You”, before it blasts into a cool riff that I don’t recognize from anywhere else. Only a small part of the song seems to have been used, in “Only You”.
The third chunk of songs focuses on Lick It Up demos, a boring bunch of inaudible crap, all but one snippet called “You”. It’s just a few chords and a vocal melody idea that Paul and Vinnie came up with, but it’s cool to hear them harmonize. It’s possible this track evolved into “A Million to One” as the chords are similar.
The most inexcusable inclusion on this CD is “Young & Wreckless” which claims to be a Lick It Up demo with vocals by Vinnie Vincent. This inclusion is an error that goes all the way back to the vinyl versions of this bootleg that circulated in the 80s. The immediately obvious issue is that it’s not Vinnie Vincent singing, it’s Brian Vollmer. That’s because “Young & Wreckless” is a Helix song, and this track is lifted right from their 1984 album Walkin’ the Razor’s Edge! Like the rest of the CD, it sounds like an 18th generation cassette copy.
This disc is for die-hards only. What I’d like to see is an official release of the demo tracks from The Elder period, which are great. Next box set, boys?
TESLA – Five Man Acoustical Jam (1990 Geffen)
mikeladano.com 