alternative metal

REVIEW: The Cult – Rare Cult (7 CD limited box set)

THE CULT – Rare Cult (2000 Beggars Banquet box set with limited 7th remix CD)

Rare Cult is a feast of rare and unreleased Cult music, for the Cult connosoir only. If you’ve been a Cult fan for a while but have struggled to find those early singles, then this is your dream box set, my friend.  They have a lot of singles and assorted rarities, and acquiring a complete set of them all takes money.  Rare Cult secures a huge chunk of that music in one package.

I’m not going to bother cataloging all the different tunes and where they came from.  They’re too numerous but I will say the following:

1. This set has an enormous number of unreleased demos and otherwise finished songs that nobody had heard before — not previously released on B-sides. The songs range from the Dreamtime era (1984) with some cool, unheard BBC performances.  Over six discs, it spans over a decade to 1995 when the band broke up (for the first time). All tracks are of very good sound quality.

2. There is a humongous (80 page) booklet inside, with complete credits and details for every single song contained within.  Billy Duffy and Ian Astbury provide commentary, and there are lots of photos too.

3. There are a lot of remixes here, as per normal for a band from this era. In fact there is an entire seventh limited edition bonus disc dedicated single remixes, called Rare Cult Mixes.  I don’t know how many copies were released with the bonus disc, but be sure of what you buy before you buy it! Personally I don’t see the point of buying this set without the seventh disc. For example, the “Fire Woman” single had two excellent remixes: The “LA mix”, and the “NYC mix”. The NYC mix is included on the Disc 5 of this box set, but to get the LA mix, if you don’t have the “Fire Woman” single, can only be had on the limited edition seventh Rare Cult disc. If you’re a collector (which I think you are, because if you’re not you probably stopped reading this already) then there’s no reason to buy the version without the bonus CD.  Wait it out and get the full package.

4. Peace. While astute fans had probably collected most of these tracks already, this box set contains the first ever official release of the Peace album, in sequence on disc 3. The Cult were working on Peace after the Love album, and even finished it, but scrapped the recordings for being too Love-like. They hooked up with Rick Rubin to revamp, re-write, and re-record the album, released as Electric. Many of the Peace songs surfaced as B-sides over the years, on singles and EPs such as The Manor Sessions.  While Rare Cult was the first release of the full Peace album, it has since been reissued as part of the Electric Peace two disc set.

5. Warning! There’s more. If you really, really, really want it all, you have to shell out for the single CD Best Of Rare Cult which had five exclusive songs not included here. Oh, marketing.  The five exclusives on Best of Rare Cult are:  “She Sells Sanctuary (long version)”, “Spanish Gold”, “The River”, “Lay Down Your Gun (version two)”, and “Go West (Crazy Spinning Circles) (original mix)”.  Some of these songs, such as “The River”, are B-sides, while some are unreleased.

6. There’s even more! Yes, there are demos here, but that’s not all of them. The masterminds behind this set cleverly left off enough demos to create a whole other box set. You’ll want to pony up for Rare Cult: The Demo Sessions (an even more limited edition 5 CD set of its own) which is interesting in its own right. Look at Rare Cult as scratching the surface.

7. Even with all this stuff available out there, The Cult liked to include live songs on their singles. None are present here. Be forewarned, you may still want to get those original singles anyway, if you care enough!  Maybe they should do a box set called Rare Live Cult.  (Are you listening Ian?)

As a listening experience, Rare Cult is long but rewarding. One thing about The Cult, they were a diverse band, and this set is very diverse. For example you’ll go from a very dancy 80’s remix of “Sanctuary” straight into “No. 13” which is more punk influenced. Regardless of what it is, or what it isn’t, I think this set is worth listening to. Even their demos are better than most bands’ album tracks.  Like many bands who released numerous single B-sides, The Cult put effort into all their songs.  Check out “Sea and Sky”, “Bleeding Heart Graffiti” and “Bone Bag” as ample proof.

The packaging is quite nice. It comes in a sturdy black box. The aforementioned booklet allows you to read through the whole history of the band up to 1995.  The first six discs are housed in three double digipacks, while the seventh disc sits in its own sleeve tucked into the box.

You might not very often have the luxury of 8-9 hours to listen to the Cult, but if you’re a fan, think hard and consider your buying options.

4/5 stars

Sausagefest XII: VIDEO REPORT!

Sausagefest is an annual all-dude, all-meat, countdown of rock.  Five of us from the old Record Store attended!  This year, there were 110 songs (75 countdowns plus 35 “tributes”).  #1 was Max Webster — “Toronto Tontos”.  Other artists who made the countdown included Iron Maiden, Black Sabbath, Kiss, Queens of the Stone Age, Tool, Rush, and Tenacious D among others.   For the history of this event, check out Record Store Tales Part 30.

Thanks to Jeff Woods and Craig Fee for your contributions — above and beyond the call of duty!

And of course, thanks to Tom our host, and Uncle Meat, Seb and Dr. Dave for the music.

Uncle Meat will be providing me with the full track list.  Stay tuned for that post, too!

REVIEW: Fight – War of Words (1993)

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Part 1 of a miniseries on Rob Halford’s solo career!

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FIGHT – War of Words (1993 Sony)

I was devastated when Rob Halford left Priest.  I was so heavily invested emotionally in the excellent Painkiller album, I couldn’t believe it was over!  Last I had heard, the band were going to be working on two new songs for a greatest hits album (Metal Works) and then Rob would take a break to do a solo album.  Instead, the band split completely!  Halford and drummer extraordinaire Scott Travis formed Fight with guitarists Russ Parish and Brian Tilse, and the bass player from hell, Jay Jay.   (Today, Parish goes by the name “Satchel” when he plays with Steel Panther!)  Regarding Jay Jay, Halford says that he did a number of Rob’s own tattoos.  Rob figured if he could play bass as well he he tattooed, he was in.  Jay Jay also does the grunt-metal backing vocals.

The resulting album, War of Words, is a Pantera-esque thrash-fest, one of the heaviest things Rob had ever done (until Halford’s Crucible album), undeniable brutal, scream-laden, and punishing from start to finish.  Halford had cleverly assembled two shredding guitar players with differing styles too:  Tilse specialized in the noisy speedy solos, while Parrish played the more melodic and traditional speedy solos!  War of Words is solo nirvana for fans of Rob and Priest.  And Rob wrote every single song by himself.

The twin openers, “Into the Pit” and “Nailed to the Gun”, are two of a kind:  they are rip-yer-head-off thrashers with Rob’s patented glass-breaking screams.  The song structures on War of Words are simpler than what we heard with Priest, no doubt since Rob composed the songs by himself.  This simplicity serves to make the album feel even heavier and more relentless.

The lyrics, just as simple and aggressive.  “Into the Pit” doesn’t feature much in the way of poetry:

Conspiring, for sation
Malfeasance, on high
Obstruction, of duty
Disorder, will rise

Rob takes the pace back a bit on the third track, “Life in Black” which I don’t think you can fairly call a ballad, to me it’s more Dio-era Sabbath with a very vintage-Dio sounding solo.  (Rob had just helped out Sabbath live after Dio left, singing lead for two shows while opening for Ozzy Osbourne.)  Meanwhile “Immortal Sin” bears a slow groove with a melodic chorus, downtuned but a bright spot in the proceedings.

The title track opens with the American First Amendment (Rob was living in Phoenix).  It’s another aural assault with Rob keeping his vocals in the upper register.  Travis’ incredible drumming punctuates every venomous word.  Considering that less than three years prior, Rob (with Priest) was in court defending his band during the infamous “suicide trial”, the words are apt.

Dream Deceivers, directed by David Van Taylor, the excellent documentary on the Judas Priest trial

It’s back to dark haunting territory next:  “Laid to Rest” ended the first side of the album.  I find this one to contain one of Rob’s best vocal performances of the album.  It’s reminiscent of “A Touch of Evil” by Priest, but downtuned and slightly exotic.

Side Two’s opener, “For All Eternity” is really the final reprieve.  It is most definitely a power ballad in vintage Priest vibe, but again with the modern downtuned guitars.  A song like this really proved Rob’s songwriting chops.  He’s capable of writing emotive, catchy powerful music completely on his own, and the song is an achievement.  The bridge around 2:25 is just awesomeness, but Tilse’s guitar solo completes the picture.  As if that wasn’t enough, Rob returns to full on scream mode for the end.

“Little Crazy” was a critically acclaimed heavy metal blues, and the second single/video.  I’m struggling to describe it beyond “heavy metal blues”, but this song is definitely a highlight.  Rob puts everything he has into the slinky lead vocal, while band fuse the blues feel with heavy metal’s precision.  I recall reviews of the time saying, “If Rob wanted to drop metal and go full-on blues, he could.”  Now that would be interesting.

The rest of the album is no-holds-barred.  The triple threat of “Contortion”, “Kill It”, and “Vicious” is almost too much.  Each song strips everything down to the basics:  simple riffs, violent words, relentless drums, without much in terms of melody.  This is the most difficult part of the album to penetrate.  In time the three songs grow.  “Contortion” protests what we are doing to the Earth with angry frustration.  “Kill It” is about TV preachers (whom I’m sure had their opinions on Priest during the trial).  “Vicious” was always my favourite of the trio:

You cheating, lying, mother-fucking son of a bitch..

Vicious, vicious,
Fucker, fucker!

I was going through an angry phase at the time!

Rob saved the best track for last.  “Reality: A New Beginning” is a weighty epic, a perfect closer, slightly exotic and successfully combining Fight’s heavy side with Rob’s ability to write great melodies.  This is simply an incredible song, a jewel in Halford’s crown, and a song which definitely deserves another look.  The lyrics seem to be autobiographical:

This time, when I’m leaving,
Who cares where I’ll go?

There was a hidden CD bonus track (not on cassette) after a five minute silence, a jokey song called “Jesus Saves”.  Rob’s voice is electronically manipulated to sound…well, not sure what he’s supposed to sound like.  An angry elf, I guess.

4.75/5 stars

There are some supplementary releases available:

1. This one is on my wishlist, I don’t own a physical copy:  In 1994 Fight released a Christmas CD single called “Christmas Ride” with a message from Rob!  They later reissued this as a free download from Rob’s site, but that is no longer around.

2. The live/remix EP, Mutations (next up in this series of reviews).

3. In 2007, a demo album called K5: The War of Words Demos was released.  This featured demo versions of most of the album, plus five more.  These include four new songs, and “Psycho Suicide” which was later remade for the second Fight album, A Small Deadly Space.   The demos reveal that a much more conventional-sounding metal album was initially planned.  (“The Beast Denies” is a very different version of “Reality: A New Beginning”.)

4. The 2008 Fight box set Into the Pit contains remixed versions of War of Words (again without “Jesus Saves”) and A Small Deadly Space.  But the cool thing it contains is a DVD, Fight Live In Phoenix.  The band rips through the entire album, in sequence (no “Jesus Saves”!) and then Rob’s solo track, “Light Comes Out of Black” (from the Buffy the Vampire Slayer movie soundtrack).

5. Buffy the Vampire Slayer original motion picture soundtrack.  This is the only place you can get the studio version of “Light Comes Out of Black”, featuring his backing band…Pantera.  All of Pantera.

I like “Light Comes Out of Black”, but it’s a lot easier to swallow than Fight is on first listen.  I remember a M.E.A.T Magazine interview with Glenn Tipton and KK Downing, where they trashed it.  “If it were on Painkiller, it would be one of the weaker songs, if not the weakest,” said KK.

KK might have been right about that to a certain extent, but only because Painkiller consists of 10 awesome songs!