classic rock

RE-REVIEW: Poison – Open Up and Say… Ahh! (1988, 2018 180 gram coloured vinyl reissue)

Our review of the deluxe CD edition of this album can be found here.

POISON – Open Up and Say… Ahh! (1988, 2018 Capitol 180 gram coloured vinyl reissue)

There are some bands I find myself constantly having to defend my enjoyment of.  Poison is definitely up there in the top five, if not #1.   They’re not incredible musicians (Richie Kotzen and Blues Saraceno notwithstanding).  They put out some junk.  But they also did at least three legitimately great hard rock albums, and Open Up and Say… Ahh! is one of them.  Poison had good producers behind their best albums.  Bruce Fairbairn, Richie Zito, and in this case, Tom Werman, who had plenty of experience getting great records out of mediocre musicians (and great ones too).

This 180 gram vinyl reissue, on red vinyl and spinning at 45 rpm, still sounds great.  This was a good sounding album 1988 and this record spins well.  The drum sound is a little synthetic sounding, but that was a common issue in the 80s.  Rikki Rocket got a better snare sound later on in the 1990s.  CC’s guitar is like an over-the-top Ace Frehley.  Harsh with more of that 80s transistor amp sound, but actually not that bad on this album.  Frehley was probably the model.  Werman got a solid performance out of Bret Michaels, and layers the choruses with ample backing vocals, but just enough for sweetener.

The album was loaded with mostly good songs.  Opening with the terrific riffing of “Love on the Rocks”, Poison started with a rocker, as if to prove a point.   “She goes down slow, like a shot ‘o gin…” and 14 year old me had no idea what Bret was really signing about, so you have to give the lyricist credit for that.  “You wanna taste my love, why don’t ya swallow this.”  Well, maybe I did get the picture after all.  Swallow This was the original album title, but cooler heads prevailed.  It was later used as the title for Poison’s premature double-live.

Smash hit and first single “Nothin’ But A Good Time” is in the second position, exactly where it belongs, hitting it home immediately.  The riff always struck me as something inspired by Kiss (“Deuce), but later on Kiss ripped off this song for one of their own (“Never Enough”).  Although it’s bubblegum hard rock fun, there’s nothing wimpy about “Nothin’ But A Good Time”.  “Back to the Rocking Horse” is a good track, a sort of Poison deep cut, as is the harmonica-laden “Good Love”.  The first side ends with the darker “Tearin’ Down the Walls”.  Songs like this show that Poison were more than the sum of the public’s perception.  CC’s guitar solos speak.  The lyrics may be shallow (coming home from the road for a good romp in bed), but there’s something about the music that is more than meets the ear.

Opening side two, “Look But You Can’t Touch” has a completely different vibe.  A vicious CC riff kicks it off.  We’ll ignore Bret’s ill-advised lyrics about plying an unwilling young woman with drink.  Not cool, Bret!  (I didn’t think so back in 1988 and I don’t think so now, so don’t come at me.)   Great song otherwise, thanks to CC’s killer riff.  As if to make up for the previous song, Poison got a bit serious on “Fallen Angel”.  In the music video, a predatory manager played by actor Anthony James takes advantage of young girls heading to Hollywood looking for stardom.  It’s a re-enactment of the lyrics:  “She stepped off the bus out into the city streets, just a small town girl with her whole life packed in a suitcase by her feet.”  Things gradually go bad, and Bret’s words serve as a warning.  The song itself remains in the top Poison tracks of all time.  It has it all:  great riff, terrific chorus, strong verses, and another in a series of memorable CC guitar solos.  He didn’t break new ground as a lead soloist, but like many that receive far more praise than he does, CD composes his solos.  The one in “Fallen Angel” is like a mini-song inside a song.

“Every Rose Has Its Thorn” was respected in its time for being a bit further out in the acoustic direction than many bands were comfortable.  “Too country!” said some.  Bret was right on the money with this song, as time has shown.  It didn’t take long (only three years) to become something of a pop culture phenomenon, being quoted in the second Bill & Ted film.  You’ve heard it a million times, but it still stands as a good, well written and well performed ballad, with another great little CC solo.

The cover of “Your Mama Don’t Dance” was cute, and we’ve all heard it a million times now.  It’s fun but at this point we don’t need to discuss it.  We close on “Bad to be Good”, which actually focuses on Bobby Dall’s bass line as the main backbone of the song.  Not to be ignored, listen to CC’s opening guitar licks.  This is a fine song, but not an album cornerstone.  Just a way to take the album out on a dark, sassy note.

One thing we always appreciated about Open Up And Say… Ahh! back in the 80s was that it came with ample photos on the lyric sheet.  Though the cover was always garish and ugly, Poison gave you value when you bought their records.

4/5 stars

 

 

Tim’s Vinyl Confessions Ep. 756: Thin Lizzy (CDs)

It has been 40 years since we lost Phil Lynott.  To mark the occasion, Tim Durling recruited myself and John the Music Nut to meticulously document our Thin Lizzy CD collections on video, once and for all.  While I clearly had the biggest collection (and size does indeed matter), I still need three box sets to “complete” my Lizzy CD collection.

Please join Tim, John and myself as we go through every album one by one, and discuss the history of Thin Lizzy from the beginning right to the John Sykes and Ricky Warwick eras of the band.  We have physical CDs to marks several post-Lynott lineups, and loads of compilations and box sets too.  A truly comprehensive episode, and probably the best single-episode overview on the Lizzy discography that you’ll find on YouTube.  Enjoy!

REVIEW: Paul Stanley – You Can’t Escape His KISS – Andrew Lloyd Webber’s The Phantom of the Opera (1999 Bootleg CD)

Andrew Lloyd Webber’s THE PHANTOM OF THE OPERA – Toronto Cast Recording featuring Paul Stanley (1999 Phantom Music bootleg CD You Can’t Escape His KISS)

Seeing Paul Stanley perform as the titular Phantom in Andrew Lloyd Webber’s Phantom of the Opera was an experience I’ll never forget.  It was fall, 1999.  I remember hearing an ad on the radio on the way to work that the show was being extended due to popular demand – six more weeks!  I remember jumping around at the Beat Goes On (Cambridge location) chanting “SIX MORE WEEKS!  SIX MORE WEEKS!”  I knew I wasn’t going to miss Paul as the Phantom.  There were a lot of leather jackets in the audience.  A few Kiss shirts.  Not the usual Pantages crowd, but that’s what Paul did for Phantom of the Opera.  He crossed barriers with it.  A little later on, I was gifted a genuine Paul Stanley autograph from DJ Donnie D, who bumped into Paul on the streets of Toronto.  I had a program, an autograph, and the live experience.  All I needed was a CD of the show.

“They’d be stupid not to release a CD version of Phantom with Paul,” I reasoned.  The London and Canadian cast CD releases were bestsellers for us, despite their prices.  A Paul Stanley release would cross over to the rock crowd.  An official CD never came, but fortunately somebody in the audience was recording one of of those shows, and bootlegged it.  The date is unlisted, the CD says “Made in Japan” while the sleeve says “Printed in USA”.  (The number on the CD, 27/110/99 does not refer to a date as the ended on Oct 31 1999.)  This CD bootleg was gifted all the way from Australia, by the Mad Metal Man Harrison Kopp, who knew I had been seeking it a long time.  From Canada to Australia and back to Canada again.

A single CD release with unrelated bonus tracks, this disc focuses on the musical numbers that involved Paul and skips the rest.  This is probably sufficient for Kiss fans.

Being an audience recording, quality is all subjective.  There is some tape warble, which may or may not hinder your enjoyment.  There are people coughing in the audience; the usual sonic flaws.  You can clearly hear that Melissa Dye, Paul’s co-star playing Christine, is a professional while Paul is not.  He often resorts to a “rock frontman” voice to exclaim certain lines.  However, Paul also does an admirable job.  His tenor voice was no longer at its peak in 1999.  He was still up to the task, insofar as a rock star goes.  A tenor like Paul would never have made it to the starring role without his name marquee value.  That doesn’t actually matter when you consider that Paul helmed this show from May to October, to positive reviews.  Of course, there is more to it than just singing.  There is also the acting; the stage performance in costume and makeup.  You don’t get to see that here, but I can assure that Paul knew something about performing to music on stage in costume and makeup.  He brought the same bombast to the physical role as he did the vocal part.

The most memorable musical moments on this CD are the “Phantom of the Opera” and “Music of the Night”, which most people will be familiar with.  Paul’s performance on both is a knockout.  This bootleg recording serves as a reminder that Paul might have been an unorthodox Phantom, but he was still capable, and did the job well…even if you can hear the Kiss frontman in him, from time to time.

The track list on the back of the CD is incorrect.  There are 25 tracks total, provided below.  The bonus material includes four of the 1989 Paul Stanley solo demos:  “When 2 Hearts Collide”, “Don’t Let Go”, “Best Man For You” and the familiar “Time Traveler”.   These are followed by a 1978 interview in seven parts.  An odd potpouri of bonus material to be sure, but such is the liberty of bootleg recordings.

“When 2 Hearts Collide” belies the late 80s recording date with its ballady keyboard direction.  It sounds like a Journey ballad, but it wouldn’t have done Kiss much good back then, when fans were tiring of ballads.  Good chorus and would probably benefit from a quality official release so we can really appreciate Paul’s singing.  “Don’t Let Go” is another ballad, but more in that “power ballad” mold, with a blaring chorus.  Just like every band was doing in 1989.  It could have been a hit, or it could have been forgotten.  Either way, Paul should do his own “Vault” release and get this stuff out there in better quality.  “Best Man For You” is, you guessed it, a ballad.  It sounds like something related to “Reason to Believe” from Crazy Nights.  Fortunately, the last and best song “Time Traveler” did get an official release on the Kiss Box Set.  This one actually rocks!  In that late 80s way, with a drum machine thudding away where you wish it was Eric Carr.  The tape sounds slightly sped up from the official release.  (It happens when it’s tape-based bootlegs.)

Finally the 1978 Paul interviews aren’t too action-packed.  They lack the question portions of the recordings.  The subject is Paul’s 1978 solo album, and what Paul was looking to accomplish.  (Sing more, apparently!)   He was also hoping to appeal to all Kiss fans, and new fans too.  He also hopes that none of the four solo albums would disappoint the fans.  That didn’t happen, but then there is some praise for the late great Bob Kulick and the other players on the record.  He also prophesizes that one day, Kiss will become an institution.  Was he right?  In total, it’s 8 and a half minutes of interview.

A worthwhile purchase if you can find a copy.  There isn’t much in terms of 1999 Phantom recordings out there, and this might be the best of them.

3/5 stars, balancing collectability and sound quality.  Still a must for Paul fans.

 

1. Overture
2. Angel Of Music / The Mirror / Phantom of the Opera
3. Music of the Night
4. I Remember / Stranger Than You Dreamt It
5. The Phantom’s Instructions
6. The Phantom Threats
7. The Phantom Attacks
8. All I Ask Of You
9. Masquerade
10. Wandering Child
11. Let My Opera Begin
12. The Point of No Return / All I Ask Of You
13. Down Once More
14. Finale
15. Paul Stanley – When 2 Hearts Collide
16. Paul Stanley – Don’t Let Go
17. Paul Stanley – Best Man For You
18. Paul Stanley – Time Traveler
19. Paul Stanley Interview 1978 Pt. 1
20. Paul Stanley Interview 1978 Pt. 2
21. Paul Stanley Interview 1978 Pt. 3
22. Paul Stanley Interview 1978 Pt. 4
23. Paul Stanley Interview 1978 Pt. 5
24. Paul Stanley Interview 1978 Pt. 6
25. Paul Stanley Interview 1978 Pt. 7

Tim’s Vinyl Confessions Ep. 736: Ace Frehley (CDs)

Like ships passing in the night, once again I cannot seem to hook up with Logan Collins at the same time and place!  Logan and I did, however, contribute to this fantastic episode of Tim’s Vinyl Confessions.

With the loss of Ace Frehley fresh in our minds, the three of us go through our Ace Frehley CD collections.  There are certain items in my collection you may not have seen before, such as a promo single for “Do Ya”.  We engaged in deep discussion on each album, the key tracks, and the specific versions we have on display.  Most of us, we miss the Ace and spend most of our time just talking about how great he was.

Check out this episode of Tim’s Vinyl Confessions, which will premiere later today.

Tim’s Vinyl Confessions Ep. 687: Night Ranger Deep Dive #12 (High Road)

Please join Tim Durling and myself for this deep dive into Night Ranger’s fabulous 2014 album, High Road.  This is a really special CD to me, with some great tracks including the title song, “I’m Coming Home” and “Don’t Live Here Anymore.  Jack Blade, Brad Gillis, Kelly Keagy, Joel Hoekstra and Eric Levy really made a special album with this, and a pinnacle of the reunion era if you asked me.

Tim is doing this series of deep dives to celebrate his new book, Sing Me Away: The Night Ranger Album Review.  You can get it on your local Amazon and check out an analysis of every Night Ranger album from a panel of experts.  Including me!

Check out this episode of Tim’s Vinyl Confessions, which will premiere later today.

#1194: You got exactly two words of that right.

RECORD STORE TALES #1194: You got exactly two words of that right.

I have a soft spot for Ian Gillan and Roger Glover’s Accidentally on Purpose.  The Deep Purple Pair had a writing partnership dating all the way back to the 1960s and a band called Episode Six.  Before Ian was fired from Deep Purple in 1988, he and Roger emerged from the sessions for The House of Blue Light with an excess of stifled creativity.  These lighter, more summery tuned formed the basis for their only duo album.  I found it on cassette in the mid-90s, right when I was seriously collecting Deep Purple for the first time.

It’s not rock.  There are some songs that do rock a bit, but it’s more like fun pop with roots in rock and prog.  There’s saxophone, and loads of programming.  Very 1980s.  It took a couple listens to adjust to this distinctly non-Purple album, but once certain songs like the floaty “Clouds and Rain” and the funky “Evil Eye” started to hit, they stuck.  Programming aside, you’ll hear some cool instrumentation and musicianship on this album.  Eventually, I grew to like it.  As soon as I found out the CD reissue had three bonus tracks that were not on the cassette, I upgraded, as I often do.

The bonus tracks included a song that would have worked on a corny 80s Beach Boys album, called “Cayman Island”.  It also had a sax-heavy cover of “Purple People Eater” which is the definition of guilty pleasure.

Shortly after I bought the CD, a used copy came into stock at the Beat Goes On.  It always happened that way.  If you bought something new, you’d see a used copy a matter of weeks later.  It was eerily inevitable.  Of course, when that used copy came in, I threw it into the rotation for store play one afternoon.

A guy walked up to the counter, intrigued by the music.

“What’s this that we’re listening to right now?” he asked.

I was thrilled to have someone ask!

“This is a side project by Ian Gillan and Roger Glover from Deep Purple,” I answered with inner glee, but also some trepidation as I’d personally prefer to keep listening to it!

He responded, “Roger Waters from Pink Floyd?“

What…?  No!  No!  You got just two words of that right: “Roger” and “from”!

He sulked away upon learning it was not Floydian music.  No sale that day!

Album of the year? REVIEW: Harem Scarem – Chasing Euphoria (2025 2 CD/DVD)

HAREM SCAREM – Chasing Euphoria (2025 Frontiers 2 CD/DVD)

In 2025 we have seen spectacular new releases from The Darkness and Ghost, but have Harem Scarem topped them all?  Chasing Euphoria could be the album of the year.

Harry Hess (vocals), Pete Lesperance (guitar/bass), Darren Smith (backing & lead vocals), and Creighton Doane (drums) have created a magnificent hard rock masterpiece in Chasing Euphoria, an album that sounds like a brother record to Mood Swings.  A record we’ve been waiting for, for a long time.  The logo and cover art match the Mood Swings era.

While it is a disappointment that Darren doesn’t play any drums on the album, you can’t really tell.  (Bassist Mike Vassos is pictured in the booklet but does not appear on the album, while drummer Creighton Doane plays drums on every song but isn’t depicted inside.)  Joining the band are ex-Honeymoon Suite keyboardist Ray Coburn, and Coney Hatch bassist Andy Curran (on “Better Than the Devil You Know”).  The ten new songs here are among the best written by this band.  The Japanese release includes four bonus acoustic renderings, plus a DVD with two music videos and an exclusive “Making Of” video.  The album was, as usual, self produced by Harry and Pete.

One of Harem Scarem’s trademark sounds is the blend of Harry Hess’ vocals, layered in with Darren and the band.  The opening title track is thick with that sound on the impactful chorus.  Like classic Harem, this one boasts dark but still uplifting melodies with powerful hard rock.  Importantly, Pete’s guitar tone is right in the pocket of what we loved about him back in 1993.  His solo here could have fit on Mood Swings without a blink.

The upbeat “Better Than the Devil You Know” is a brighter song, with softer verses and a regal chorus.  It brings warm feelings and nostalgia of happy days.  Pete’s solo on this song is lyrical and dexterous.  “Better the devil you know, than you angel you see,” advises Harry Hess.

Chunkier riffing characterizes the speedy “Slow Down”, but what I really like about it is the way Pete goes from rhythm guitar to tricky fills, seamlessly.  This rocker is an album highlight, on a record filled with nothing but.  The chorus is surprising when it hits, and catchy as the flu.  Pete’s solo is an album highlight.

Darren Smith makes his only lead vocal on “Gotta Keep Your Head Up”, a mid-tempo groove with impact.  Darren’s voice is a bit raspier than Harry’s, but they blend so well on the choruses.  This is one of those inspirational rock songs about not giving up or backing down.  The subtle backing keyboards really add texture.  Another winner.

The first ballad of the album is “World On Fire”, which would be the side one closer in a vinyl world.  This is a sentimental song very much like early Harem Scarem, possibly fitting best into the Voice of Reason era (1995).  In a near-perfect album, this song ranks near the bottom, which isn’t really a bad thing on an album like this.  The layers of backing vocals plus Pete’s solo adds some meat to the bones.

“In A Bad Way” returns the chunky Pete rhythm guitar to the forefront.  The roaring chorus of “I’m in need of your love in a bad way,” is the song highlight.  Pete’s solo is a little different, and a lot cool.

Softer is “Reliving History”, but it’s not a ballad.  Even when Harem Scarem write a song that is a little more laid back, they manage to inject it with power.  This is a Leppard-like song circa Adrenalize.

The heaviest song is “A Falling Knife”, a fast rocker with Harry giving it all vocally, sometimes breaking into a hoarse rasp, but without ever losing control.  This is probably the only song that has a late-90s Harem Scarem vibe.  It could fit on albums like Karma Cleansing or Big Bang Theory as well as this one.  The lush backing vocals are a Harem Scarem trademark and the backing organ thickens the soup.

“Understand It All” dials the heaviness back a tad, and compensates with great verses and an absolutely killer chorus, dense with those Harem Scarem vocals.  Pete’s guitars balance the rhythm parts with catchy fills in a tasty way, and his solo is killer as ever.

It’s all over before you know it.  “Wasted Years” is the highspeed closer, an album highlight and an absolute smoker.  It has the tension and the melodic power that classic Harem Scarem has always embodied.  One of the best tracks, in an album with nothing but “best tracks”.

It’s all over before you know it, but Harem Scarem always give the Japanese releases a little extra.  This release comes with four stripped back acoustic versions:  “Better Than the Devil You Know”, “Slow Burn”, “In A Bad Way” and “Reliving History”.  It has been said that if you want to know if you wrote a good song, play it acoustically and see.  All these songs pass the acoustic test, though the album versions will remain the mainstays.  These acoustic tracks are a nice coda.  They give you a little extra, without compromising quality by including filler songs.  It’s like a comedown after a wild ride, though Pete’s acoustic solos sure have spark.

The Japanese album also includes a brief DVD with videos for “Chasing Euphoria” and “Better The Devil You Know”.  In an interesting twist, Darren Smith mimes the drums in these videos, even though Creighton Doane played them.  Mike Vassos does appear on bass in these videos.  There is also a “Making Of” feature that you will probably watch once.  It’s nice to get these bonuses, but how often will you pop in this DVD?  Rarely, because you need a multi-region player to see it.

Harem Scarem have made a lot of great albums over the years, that have been forgotten and swept under the carpet.  This one deserves a better fate than that.

5/5 stars.  Best album by Harem Scarem in a long time.

PHOTOS: KISS – Off The Soundboard – CD version Japan exclusive – Asylum Tour San Antonio TX 12-3-1985

Fresh in today’s mail, it is the latest KISS Off the Soundboard CD, Asylum Tour 1985, in Texas!

“But Mike,” you query.  “I thought that was a vinyl exclusive, and I thought it sold out too.”

True, it was a stupid coloured 3 LP set, exclusive to the KISS store, and now sold out except in bundles with a shirt.

The Japanese record company said いいえ and issued it on CD anyway.  They did a smashing job of it!  Some fans received a free sticker; I did not.  Inside the cardboard gatefold sleeve was a mini KISS poster, and 2 CDs, each one within its own plastic sleeve within its own printed paper sleeve.  The design for this album was a little different from the previous five in that this time there is a picture on the outer cover.

The CD sounds great, and it’s classic fastfastfast 80s Kiss with the unforgettable Eric Carr on drums.  That’s why you only see CD 2 in this photo.  CD 1 is in the deck!  This could have been released officially in 1985.

 

REVIEW: Rush – Rush 50 (2025)

RUSH – Rush 50 (2025 Mercury)

Don’t try to do any math and figure why Rush 50 is out in 2025 instead of 2024.  What matters is:  Rush 50 is out.  It is stunning, both sonically and visually.  The box art by Hugh Syme fits right in that Rush mold, akin to Chronicles.  That’s to say nothing of the hardcover book inside, which we will discuss later on.  The design is excellent.  In the back, the CDs peek out of thee sleeve like golden coins.  It’s just a really cool looking, and sounding, box set.  The remastering here is terrific.  Geddy’s bass is wonderfully separate from the guitars, and you can really hear the details as you remember them.  Brilliant job here.

Rush 50‘s four discs follow roughly chronologically.  They include a generous number of live tracks, which is not at all to the detriment of this set.  Some of the live tracks come from other box sets, from live albums, and some are rare or unreleased versions.  “Garden Road” is one long desired by Rush fans, though “Fancy Dancer” is conspicuous by its absence.  (Don’t assume this is the last collection that Rush will release.)

In the days of downloading via Bittorrent, I found crappy vinyl rips of Rush’s first single “Not Fade Away” / “I Can’t Fight It”.  I burned them to a CD, and lamented that this would likely be the only “physical” copy of the single that I would ever own.  15 or 20 years later, this new anthology-style box set Rush 50 includes the single as the first two tracks on disc one.  To finally have these songs, officially, physically, and sounding so full and rich compared that that old CDr, it scratches that itch that I have as a collector.  If I could afford that first single, I’d have it already.  This will do even better, because it’s clean and digitally perfect.  It’s also quaint.  The almost psychedelic echo on “Not Fade Away” is a detail I didn’t remember.

Similarly, about 15 years ago Rush released the “Vault Edition” of the track “Working Man” for a limited time on iTunes.  I burned that to a CD too.  Now it is here physically, along with another “Vault Edition” of “The Trees” that I was unaware of.  Now we have both on CD.  Itch scratched once again.

Wisely, Rush made sure some of the biggest hits that people want are studio versions:  “Closer to the Heart”, “Tom Sawyer”, and “Subdivisions” for example.  Joe Average, who just wants a cool box set instead of all the albums, often ends up complaining when bands out live versions instead of studio versions of the songs they really wanted.  (Trust me, I worked at the Beat Goes On for 12 years.)  The other thing is, the live versions they did select are superb.  Let me tell you, the Bonham-esque drums on the jammy “Before and After (live)” sound absolutely massive.  It’s certainly appropriate for a band of this reputation to include so many live versions.  Most of disc two is live.

With equal wisdom, Rush ended this box set with the last songs plays at the their last ever concert.  Going back to the very beginning, Rush end the anthology with those final live takes of “What You’re Doing/Working Man”, with just a smidgen of “Garden Road”.  It’s an emotional way to end the journey, and this box set is indeed a journey.  That’s the wonderful thing about anthology style sets.

 

The remarkable Hugh Syme worked overtime to produce the art for the hardcover book.  Yes, not only do you get words and photos, but also brand new double-page artwork for most of the songs on Rush 50.  It is the kind of box set that will give you enjoyment every time you listen to it, because you can crack open that book and just study.  My study has barely begun; I have not really been able to look at each and every piece of art yet.  Rest assured though, Hugh Syme provides all the justification for the price of this set, with the book alone.  If this were a hardcover sold in a store on its own, it would probably be at least $60 bucks as a book.

A massive career like Rush’s deserves a massive box set.  You won’t believe it until you hold it in hand.  This thing is monolithic; a purchase that will not be regretted.

5/5 stars

REVIEW: Rose Tattoo – Rose Tattoo

ROSE TATTOO – Rose Tattoo (1978 Albert Productions/1990 Repetoire Records “Limited Edition” CD reissue)

It is amazing how in North America, you can spend half a lifetime listening to music without ever running into an album by Rose Tattoo, Australia’s “Angry” exports.  Legendary back home, but over here most of us just know them from “Nice Boys” by Guns N’ Roses.  Some may also remember “Rock ‘n’ Roll Outlaw” by Keel.  Both covers of Rose Tattoo tracks from their eponymous 1978 debut.

Led by the diminutive Angry Anderson, Rose Tattoo were produced by Harry Vanda and George Young, the same duo that helmed those early AC/DC classics among others.  AC/DC comparisons are easy, but Rose Tattoo had two things going for them that other bands did not:  1) dominant slide guitar on every track, and 2) Angry Anderson himself.  Don’t underestimate what you see.  This guy has gritty power that elevates each song, and blows away the most famous cover version you’ve heard.  Furthermore, the lyrics should be mentioned as different from what many bands were doing at the time: Gritty social observational lyrics, featuring  real life stories of the streets (too wild to be true), with colourful characters such a drug dealers and tough guys.

Opening with the slide guitars of “Rock ‘n’ Roll Outlaw”, we can accuse another band who clearly ripped off Rose Tattoo in their early days, that being the Four Horsemen.  If their “Tired Wings” didn’t take inspiration from this song, then I’ll be damned.  The steady beat of Rose Tattoo is the perfect backing for drive this tough boastful rocker.  Besides that beat and slide guitar, Angry Anderson’s voice is the magical ingredient.  It sounds perpetually pushed to the edge, with a delightful squeak highlighting the emphatic parts.  The powerhouse voice of Anderson automatically blows away Keel’s cover.  Sorry Ron.

Guns N’ Roses came close to capturing the frenetic energy of “Nice Boys”, but not even Axl can bottle the energy of Angry Anderson.  Now playing at a punk-like tempo, but with frantic slide guitar punctuation, “Nice Boys” easily kills the famed GN’R cover version.  Hearing it, one gets the sense of “ah, this is what they were trying to do.”

One of the most menacing songs is “The Butcher and Fast Eddy”, slowing things down to that nocturnal crawl that AC/DC mastered with Bon Scott.  Much as Scott filled his lyrics with true stories and colourful characters, Anderson tells a tale here like a novelist.  “Across the river lived Fast Eddy, he was known to be treacherous, very mean. Even Eddy’s sweet young sister out on the streets, just a girl, barely fifteen.”  Is Anderson the Bob Dylan of the dirty streets?  He keeps the story going for six and a half spellbinding minutes, with the band mostly just playing the backing music, with a few picks scraped for noisy blasts.  Angry Anderson’s voice and delivery carries it.

A stomping beat slams through one of the catchiest songs, “One of the Boys”.  It’s an unsubtle ode to being a tough guy with a bunch of tough guys to back you up.  Yet Angry’s words offer more than just boasting.  OK sure, there’s boasting.  “What you need is mates, staunch and true, hold out your back they’re gonna see you through.  I don’t look for trouble but I won’t hide, I’ll jump on you if you don’t step aside.”  There are also hints of deeper themes, such a loyalty.

Now at top speed, “Remedy” brings the punk rock tempos with a single heavy riff and killer hooks.  The message here is simple:  gimme rock and roll.  It’s good for you.  It’s healthy.  Turn it up and blast it, and at this tempo you’ll probably be headbanging too.  Top notch party rock on the edge of punk.

“Bad Boy for Love” uses the slide to bring a sleezy vibe to a slower groove.  In this song, the main character got drunk, ripped up the town, and is now just being released from prison.  Then, he went to go see his girl, whom he finds with another man.  He kills them both and ends up back in the slammer.  This is followed by a jailbreak and “a thousand guns” pursuing him.  Not original, but delivered with bona fide sounding cred.

Keepings things to a breakneck pace, “T.V.” might get you pulled over for a speeding ticket.  Angry’s voice is pushed to the limit again, and the slide guitar is as relentless as the tempo.

The one surprising song is the acoustic “Stuck On You”, featuring the line “like a rose tattoo”.  The slide is now applied to various acoustic stringed instruments, and though it’s clearly the same band, the approach is very different.  A more traditional blues direction does not temper Angry’s voice, still pushing it on the choruses and verses alike.  Sometimes the lyrics verge on the absurd.  “I had a fish named Sam, he lived in bowl.  I heated up the water, so he wouldn’t get cold.”  The lead character seems like a possible stage five loser, but it’s all open to interpretation.  Either way, a great song with memorable words and a delivery impossible to duplicate.

Back to the punk-like rock, “Tramp” tells a more familiar story.  It’s over and done real fast, and then we’re onto the epic closer “Astra Wally”.  Rose Tattoo do best when they tell these kinds of stories.  Astra Wally was a real cool cat, but he sounds like trouble to me.  A drug dealer who samples his own wares, perhaps.  “He don’t get shot, he go by O.D.”  The slide guitar is once again in the spotlight, always fast and always tasty.  That’s founding member Peter Wells on slide.  Then we have Mick Cocks on lead and rhythm, Geordie Leach on bass and Dallas Royale on drums.  When they get down and just lay down grooves like this, you can listen to them all day.  “Astra Wally” is indeed a “super fun thing” as the lyrics state.

That’s a 5/5 star album right there.  But we’re not through yet, because in 1990 this album was reissued with eight bonus tracks.

Up first are a batch of studio tracks.  A B-side called “Never Too Loud” backed the “No Secrets” single in 1984.  Regardless of the time difference, it does sound like it roughly fits in.  It’s less frantic and tighter, with a slightly cleaner sound.  Slightly.  It’s still not anywhere near the polished rock starting to come out of North America at the time, and it maintains the slide and steady beat.

“I Had You First” is from 1981’s “Rock ‘n’ Roll King”.  The punk vibe is first and foremost here, but the chorus is still a blast.

From 1982, “Fightin’ Sons” comes from the “It’s Gonna Work Itself Out” single, and it’s another vibe altogether.  It has a bit of an early 70s vibe with a blues base.  This is about going to war to fight for your country, but it’s more than that.  It offers its own perspective; its own angle on the experience, gleaned from friends.  The lyrics are more interesting than the music, perhaps.

The final studio track is “Snow Queen”.  This one lies somewhere in the middle, a reliable rocker with an undeniable AC/DC beat.  It’s the voice and slide that differentiate it.  It’s low on hooks, but it bangs pretty hard.

The final four tracks are all live ones from an unspecified source.  “Rock ‘n’ Roll Outlaw” and “Bad Boy for Love” feature Angry pushing it even further than on album.  What a singer and what a pair of lungs.  “Bad Boy for Love” is considerably longer than the album version, with loads more solos.  “Rock ‘n’ Roll is King” and “Suicide City” are later tracks.  An obvious single, “Rock ‘n’ Roll is King” is catchy through and through, with Angry still singing at top volume.  Yet it’s all hooks.  Finally, “Suicide City” is probably the most over the top song of them all, total punk rock frenzy.

In short:  If you like rock and roll, get the album, and in particular this reissue.

5/5 stars