MAX WEBSTER – A Million Vacations (originally 1979, 2017 Anthem remaster)
Why are Max Webster still held in such high esteem by their devoted fanbase? Possibly because they concocted an ideal mixture of humour and incredible playing and composition. Much like Frank Zappa, Max Webster felt that humour does indeed belong in music. It’s “smart kid rock” but never taking itself too seriously. From playful musical sections to the words of lyricist Pye Dubois, Max could also be counted on to poke you in the ribs.
A Million Vacations is certainly one of their best albums, if not their absolute magnum opus, but that’s all a matter of opinion. At this stage of the game, Max was really cooking. The 10 songs within represent some peak level songwriting, and several are still on the radio today. Through the airwaves, “Paradise Skies”, “Let Go the Line”, “A Million Vacations” and “Night Flights” might be speeding over Canada somewhere as you read this.
“Paradise Skies” indeed! One of Max’s most immediate tracks is the party opener. Total mainstream Max: catchy hooks, insane playing, and a chorus that’s ready to blast off. Terry Watkinson’s “Charmonium” is more complex but no less catchy. The keyboardist wrote the song and does the lead vocals as well. Dig into those flurries of notes making up some tasty solo sections. Losing no momentum, “Night Flights” keeps a jaunty pace. Pye Dubois’ poem about the love of touring reminds us how important Pye was to the band. How many bands have a touring lyricist?
Breaking the fun-loving character for just a moment, a day-dreamy “Sun Voices” has connections to the next songs, “Moon Voices” and “A Million Vacations”. “In my chair, chaise lounge…” and how many songs can you think of with a chaise lounge in the words?? “Sun Voices” is a meditative poolside view. Perhaps then the side-closing instrumental “Moon Voices” is the loud party, after the sun goes down?
“A Million Vacations” (written by drummer Gary McCracken and Pye Dubois) on side two is a party-ready Canadian summer anthem. Part of being Canadian is hibernating for our cold, dark winters. Once we have endured the freeze, and life returns with the spring thaw, it is like a celebration. “A Million Vacations” has that feeling. “Throwin’ out all kinds of fishing line, Friday Friday is a good time to shine.” Yes indeed, hitting the outdoors is a Canadian weekend tradition in the summer time.
“Look Out” is an often forgotten buried gem. The chorus is written around a catchy keyboard riff, which suddenly gives way to a conga jam. It’s Max as only Max can do, daring but never fearing. But side two’s centerpiece is undoubtedly the magnificent ballad “Let Go the Line”, with Watkinson back on lead vocals. Kim Mitchell orchestrates a guitar chorus for the main instrument hook and it’s instant love. For sheer smart pop songwriting, “Let Go the Line” is Max’s finest. The new 2017 remaster from the recommended box set The Party really reveals a lot of nuance in the back that were hard or impossible to hear on previous CD editions.
Kim gets a little goofy with “Rascal Houdi”, an undeniable party rocker. “I’m switching out, I’m out to lunch,” and it’s a teenage blast. But the party finale, “Research (At Beach Resorts)” takes it to the max (pun intended). “Line up crowds at the pavilion, Max is playing ‘Vacations'”. It’s a beach party, and Max is “in Newport for research, to get abreast of things…” What about Wasaga Beach on Georgian Bay? Already taken care of, friends. “We’ve just researched Wasaga Beach, bonfire pits at midnight.” But what the heck are they “researching”?
“What is it that we stare at? Is it the passports and campsite stars? Or the monogrammed bikinis and cars? Or maybe we just need some perspiration ’cause we’re frostbitten Canadian boys!”
There are few bands better than Max Webster, folks, and Max’s A Million Vacation is an easy album to love, so flip it over and play it again like I’m about to.
GETTING MORE TALE #620: The Retired Jedi Master (of Rock)
It is always sad when one of my old Jedi Masters of Rock loses their passion for it.
I think for Bob, that began when he entered college. While Bob taught me the ins and outs of Iron Maiden, Ozzy Osbourne, Dio, and Motley Crue, he was drifting away from heavy metal. There is nothing wrong with diversifying, but his passion for the heavier side of things was waning.
I remember in the summer of ’91 when Motley Crue released their awesome new groove-laden single, “Primal Scream”. I asked Bob if he liked it, and his response was that the new Motley was “too heavy”. My heart broke in two pieces that day. I was so excited about that track. Motley were doing exactly what I wanted them to do: turning it up and giving no fucks. Bob just wasn’t into that.
His tastes were changing. I think a big part of it was that the girls he liked at college weren’t into heavy metal. Bob was checking out more commercial sounds and ballads. One of his favourite groups was Frozen Ghost. I also remember he was very much into Bad Company’s Holy Water. Meanwhile I was digging into the roots of metal and the bands of the future as well: from Deep Purple to I Mother Earth. Our paths diverged. I couldn’t be less interested in new Bad Company, but I was intent on collecting the entire Black Sabbath back catalogue. It made me a little sad, but I’m not regretful about where my explorations took me over the years.
I think it can be summed up as below:
1.The girls we liked didn’t listen to metal. 2. Bob’s tastes diversified while he outgrew metal. 3. I doubled down on metal, going all in. The girls might not like metal, but maybe they’d appreciate my don’t-give-a-fuck attitude?
Bob’s method got him dates. My method did not! But my musical journey took me far and wide. From the deep neon coloured oceans of Frank Zappa, to the craggy peaks of Mount Marillion, and back to the Valley of Judas Priest. As real life took over – job, wife, kids – Bob was no longer the music head that I was. He has always been a hard worker, and a family guy. My passion only grew deeper. The longer, heavier and more complex the tunes, the more interested I was in the band. I loved musicianship. Ballads were starting to sound the same to me, and there were some cool new sounds coming out of the woodwork.
Life took Bob and I in different directions. He met a lovely lady named Trish and now has four kids. I have none. If I had four kids, would I still have time to invest in my passion, music? Bob’s kids keep him very busy, believe me!
Bob sold off his collection many years ago. He had some amazing Iron Maiden 12” singles and picture discs. I bought a few of his singles, but there was one tie-dyed bootleg picture disc EP that I would have loved to get my hands on. I couldn’t tell you anything about it today, except that it was Iron Maiden. He had to do what he had to do. It’s gone now and he has little recollection at all about it. That information is sadly lost to me now.
Not every Jedi Master of Rock stays in the trenches forever. Some do, and end up writing about it on the internet. Bob may have retired his rock and roll shoes, but his influence lives on right here in these pages. Thank you for your wisdom and friendship.
BON JOVI – “Please Come Home for Christmas”(1994 Mercury single)
Christmas of ’94 was a good one for Bon Jovi. Their first greatest hits record Cross Road was a smash, returning Bon Jovi to the charts. It spawned two hit singles: “Always” and later on, “Someday I’ll Be Saturday Night”. With all that going on, it is understandable if you missed another Bon Jovi single that was just under the radar.
“Please Come Home for Christmas” is billed as a Bon Jovi single, but in actuality it’s a Jon Bon Jovi solo track. It was first released exclusively to the album A Very Special Christmas 2 (1992), billed to Jon Bon Jovi and not performed with the band. By ’94, “solo” and “band” Bon Jovi were becoming blurred. Jon’s solo track “Blaze of Glory” was on Cross Road even though it’s from Jon’s first solo album. Nowhere on the “Please Come Home for Christmas” single is it indicated that this is a Bon Jovi solo recording, further blurring the lines.
None of that really matters; Bon Jovi is Jon’s band and this single gathers together his first three Christmas recordings in one place. It’s actually a great value.
The old Charles Brown seasonal classic has been covered over and over, notably by the Eagles. Jon’s version isn’t bad either. You either like Bon Jovi or you don’t. If you like Bon Jovi then this will probably be right up your alley.
Next up, one of the B-sides from Keep the Faith and an original song too: “I Wish Everyday Could Be Like Christmas”. This has the vibe of Keep the Faith, with full production by Bob Rock. Why can’t everybody be kind to each other every day like they are on Christmas? It ain’t easy to write an original Christmas song, and Jon did an excellent job on this one. I’ve always preferred it to “Please Come Home for Christmas”.
Finally, from the first Very Special Christmas album (1987), it’s a live take of “Back Door Santa” (Clarence Carter). That means it’s from the Slippery When Wet tour. Vintage Bon Jovi with cheesy keyboards right out “Social Disease”. It’s not good but it’s here! Meaning, Bon Jovi fans don’t have to look for A Very Special Christmas to complete their collections.
Two for three decent songs isn’t bad. All are non-album tracks, so that’ll make this single worth it to you.
Do you remember your first Guns N’ Roses? I sure do. I skipped Appetite and went straight to GN’R Lies. We were heading to the cottage one spring weekend and my parents offered to buy me a new cassette. “Patience” hadn’t even been released as a single yet. I knew no songs. But I was intrigued by the idea of a half-acoustic EP. I fell in love with the acoustic guitar around that time, and I wanted to check out Lies as my first Guns. I’m kind of proud that my first Guns wasn’t Appetite.
The acoustic side was the second; first I was assaulted by the jet-propelled electric “live” side. Which wasn’t really live. It was recorded in the studio with crowd noise dubbed in from the 1978 Texxas Jam. If you listen to the vocals, knowing that Axl is always in motion on stage, you can tell they are not live. This is, of course, with 20/20 hindsight. This electric side was a reissue of the first Guns EP, Live ?!*@ Like a Suicide. Fans had been paying ridiculous amounts of money to acquire it, so Guns decided to beat the dealers by simply reissuing it with some new songs on top.
“Reckless Life” dated back to Hollywood Rose. Even though it’s not from Appetite, it sure could have fit on that album. It had the energy and the hooks to make it. It speaks to the strength of the album that songs like “Reckless Life” were left off. A slick and groovy tune, “Move to the City”, is also included on Lies. It’s obviously different from the direction of Appetite (horns!), but not all that dissimilar to the Illusions albums. The electric side is rounded out by a couple covers, something we later learned that Guns really excel at…or fail completely. There is no in-between with Guns N’ Roses covers. They either rule or suck. Both covers on Lies rule: “Nice Boys” (Rose Tattoo) borders on punk, foreshadowing the future. Finally, Axl announces that “This song is about your fuckin’ mother!” Not exactly the kind of thing parents enjoy, but a killer track: “Mama Kin” introduced many youngsters to the Aerosmith classic for the first time.
That first side felt dangerous. We were used to bands like Def Leppard. Suddenly this guy is talking about our fuckin’ mothers? Live ?!*@ Like a Suicide aka “side one” is also catchy as fuck, so we kept going back for round two, three, and more.
It was actually quite genius of them to pair Live ?!*@ Like a Suicide with four acoustic tunes on side two. The contrast works, and when you flip the record it feels fresh when you drop the needle again. In fact it’s easy to just flip back to side one and listen again. The quality of the acoustic songs didn’t hurt. The side progresses from softest to hardest. “Patience” is first, which eventually became one of Guns’ greatest hits. You didn’t hear acoustic guitar solos often back then, or a ballad with no drums. Even though ballads were all the rage, few bands had a song like “Patience”. The brilliance of “Patience” isn’t the melody or the whistling. It’s the minimalist arrangement.
I still remember my dad watching the “Patience” video with me. “That guy’s not a very good guitar player!” he scoffed as Slash solo’d. He never liked Guns N’ Roses.
“Used to Love Her” was always a bit of a novelty, but even so, a good novelty track. “A joke, nothing more,” according to the cover. It’s about a dog, in case you didn’t know. “Used to Love Her” is upbeat, catchy and easy to sing along to. Regardless of what my dad may think, Slash’s (electric) solo work on it is tops.
One of the most interesting songs is “You’re Crazy”, a re-recording of the Appetite for Destruction favourite. The cover states that it was originally slow and acoustic, before being cranked up on Appetite. Because it’s unique, the Lies version is the better of the two. It was notorious in the highschool halls for its refrain of “You’re fuckin’ crazy.”
Even more notorious however was the closer, and for good reason. Certain words in certain contexts are unpalatable. Context is the key. It matters who is saying the word, and why. Words in themselves are not offensive, it is their usage that can be hurtful. “One in a Million” is an ugly, angry song. Axl’s pissed off at the cops, religion, and seemingly homosexuals and the black community as well. Some of the harshest words are levelled at foreigners:
Immigrants and faggots, They make no sense to me. They come to our country, And think they’ll do as they please. Like start some mini-Iran, Or spread some fucking disease. And they talk so many God damn ways, It’s all Greek to me.
Later on, Axl has the gall to state, “Radicals and racists, Don’t point your finger at me. I’m a small town white boy, just tryin’ to make ends meet.” Here we are in 2017, three decades later, and the world is still infested with angry, small town white boys. Although Axl smugly apologized for the lyrics in advance on the front cover, “One in a Million” can’t be excused that easily. Axl has since worked with gay and African American artists…hell, Slash’s mom was African American. As a fan of the music, I would like to hope that Axl has learned more about the world since 1988. We are shaped by our experience, and I hope Axl has had more positive ones.
Moving on from the lyrics, the interesting thing about “One in a Million” is that it was album debut of Axl Rose’s piano, on a song solely written by Axl. It’s simple and guitar based, and Slash’s acoustic solo is utterly fantastic.
Finally, one of the most appealing aspects of GN’R Lies is the cover. Taking a cue from Jethro Tull, the cover looks like a newspaper replete with dirty articles. Open it up, and there’s a naked woman inside. “The loveliest girls are always in your GN’R L.P.” says the headline. I quickly folded up the cover to hide it from my parents.
Lies was a good stopgap for Guns, considering the five year gap between Appetite and Illusions. It demonstrated growth, and cool roots. It will always be remembered for “Patience”, but also a couple ill-advised words that had lasting repercussions.
GRETA VAN FLEET – From the Fires (2017 Republic Records)
Got 32 minutes to kill? I have just the thing.
Frankenmuth, Michigan’s Greta Van Fleet won’t be disappearing any time soon, not with the release of their new “double EP” From the Fires. Double EP? For simplicity’s sake, we’ll just call it an album. From the Fires has all four songs from their last EP, Black Smoke Rising, along with four new tracks. Whatever you want to call it, if you missed Black Smoking Rising, then you’ll wanna get From the Fires ASAP!
Of course you will get their smash hit “Highway Tune”, which is still as exciting as the day we first heard it. Current single “Safari Song” is first on the new CD. Greta’s biggest influence is the mighty Zeppelin, and “Safari Song” certainly has that bluesy Zep stomp. Lots of “oh mamas”. This mid-tempo rocker is quickly becoming a favourite of the airwaves.
The new “Edge of Darkness” sounds less like Zeppelin, although singer Joshua Kiszka bleeds Robert Plant. “Edge of Darkness” recalls newer blues rock bands, but the voice immediately sounds like Plant. Then “Flower Power” brings us back to hippy-era acoustic Zeppelin. It’s more than a little derivative, but this band is young and only starting out. Joshua Kiszka really blasts on the slow soulful “A Change is Gonna Come”. What a singer — someone to keep an eye on!
Some of Greta’s more dramatic tunes appear closer to the end. “Meet on the Ledge” has a plaintive, epic quality. Then “Talk on the Street” goes upbeat, with a brilliant thrilling rocker. These new tunes indicate that Greta is indeed still growing, and we haven’t heard what they’re capable of yet. Yes, they can do vintage 1969 Led Zeppelin to a “T”, and they have the acoustic bases covered too. The songwriting is growing, and their musicianship is already there. Their playing sounds like a group who have several records under their belts already.
“Black Smoke Rising” has become a personal favourite Greta tune. This closer boasts incredible vocals, melody and riffs. It’ll put goosebumps on your arms if you let it. It sounds very little like Led Zeppelin. It actually recalls Triumph more than anyone, and that’s just fine.
Now is the time to get some Greta Van Fleet. This release has all their studio recordings; a compact 32 minutes. Double EP? Van Halen had classic albums shorter than this. From the Fires is an album. Get it!
Boppin heard a rumour that Bon Jovi was coming to town. Then an anonymous source informed us that a super-secret private concert was taking place Friday night right here in Kitchener Ontario. The list of talent:
Bon Jovi’s Richie Sambora, Foreigner’s Lou Gramm and Stephanie Calvert of Starship.
Backed by an all-star cast of legendary rockers and potential surprise guest performers:
Howard Leese
-Guitar- Heart, Bad Company, Rock and Roll Hall of Fame
Hugh Mc Donald
– Bass- Bon Jovi
Doug Aldrich
– Guitar- Whitesnake, Dead Daisies, Dio
Jay Schellen
– Drums- Asia, Yes
Michael Ross
– Keys- Lita Ford Band, Missing Persons
Robin McAuley
– Vocals- MSG/Survivor
Andrew Freeman
– Vocals- Offspring, Last in Line
Paul Shortino
– Vocals- Rough Cutt, Quiet Riot
Mark Boals
– Vocals- Yngwie Malsteen, Dokken
And then our sources tell us that Bret Michaels showed up!
Richie played guitar, but also sang lead vocals without one. According to our source:
“He did both. He was out for the middle bit of the show. He did two Bon Jovi songs, “Dead or Alive” and “Livin’ on a Prayer” and then a super extended (self serving if I’m honest) rendition of “Respect Yourself”. General consensus was that he was the low point of the night!! Even his back up singers, Robin McAuley, Mark Boals, Paul Shortino and Stephanie Calvert looked confused by the end. The night was amazing. So much energy and so much sound.”
Our source also enjoyed Robin McAuley. “He was awesome. ”
Enjoy these photos! Thanks to Krista Ward, our anonymous source!
MAX WEBSTER – Live Magnetic Air (originally 1979, 2017 Anthem remaster)
So you’re the canker banker? They’re just Max Webster, here to thin the thickness of your skin.
Any good 70s act worth their salt had to have a solid live album. Max released theirs after four studio albums, a good basis for a fulfilling concert set. The 10 songs (plus one reggae jam) only begin to scratch the surface of their bizarre and rocking history, but a good 10 songs they are.
Want some rockers? Tap into “America’s Veins”. 70s radio rock? Take a lift up into the “Paradise Skies”. Looking for some progressive rock? You’ll find it “In Context of the Moon”. The adventurous and quirky arrangements of some tunes are a direct contrast to the catchiness of others. “Gravity” blends quirky and catchy into one successful gestalt. “Charmonium” both challenges and pleases the ears at once. Whether you’re soaring on “Night Flights” or biting into “Lip Service”, there is no filler on Live Magnetic Air.
One expects great playing on any Max Webster platter. Live Magnetic Air has plenty of that gonzo Kim Mitchell guitar work that he is known for. Terry Watkinson’s keys explore different tones within single songs, never getting boring. Yet it’s Gary McCracken’s drum work that seems to really shine, especially on the 2017 remaster from The Party boxed set.
It is difficult to throw too much praise at Max Webster, because surely they deserve it. They were not as famous as Rush and not as worshipped as Zappa. But those are the kind of names thrown about when speaking of Max Webster. Each Max album is loaded with amazing material, but if you were looking to start with something, why not make it Live Magnetic Air? The party atmosphere and ace selection of songs are the basic ingredients of a classic live album. Now that it’s finally been properly mastered for CD, you can hear it the way you were always meant to. For those who just wanna rock, the guitars have the crunch. The discerning fan will enjoy the new clarity and depth that this remaster offers, without overdriving the levels.
Once again we wholeheartedly recommend The Party boxed set, but if you find Live Magnetic Air on vinyl, pick it up and hear what some genuine “Sarniatown Reggae” sounds like.
Most fans will agree that Motley Crue’s 1997 reunion album Generation Swine was, at best, disappointing. The Crue tried to right the ship by returning to producer Bob Rock. Together they came up with two new songs, “Bitter Pill” and “Enslaved” that recalled better days. We discussed the wherefores and origins of 1998’s Greate$t Hit$ album in Getting More Tale #611: Afraid, on which the two new songs were released. As you’ll read here, the 1998 issue of Greate$t Hit$ is better than its 2009 update.
Both “Bitter Pill” and “Enslaved” bring Motley’s sonics back to their previous setpoint with Vince Neil, Decade of Decadence. The combo of Motley plus Bob Rock produces the kind of results you expect: punchy, heavy rock tunes with hooks. Neither is as memorable as “Primal Scream”, but serve their function. If this lineup had stayed together perhaps they could have taken it further, to the next stage of evolution. Tensions between Vince and Tommy Lee eventually erupted. Tommy left the band to pursue his own sanity and a side project called Methods of Mayhem.
The ’98 Greate$t Hit$ also offered up one other cool bonus: a previously unreleased remix of “Glitter”. It’s softer and more electronically processed, but a very cool alternate version. Dropped into this running order, Greate$t Hit$ turns out to be a remarkably fun and consistent listen. It would be a highly recommended way to get a broad assortment of great Motley and some rarities too.
Then, as part of the promotional cycle for a later, better reunion album (2008’s Saints of Los Angeles), Greate$t Hit$ was updated and reissued. Including its previous incarnation, the 2009 Greate$t Hit$ became the fifth Motley Crue best-of compilation (not counting box sets and rarities compilations).
So what’s the difference?
13 tracks overlap between the two: “Too Fast For Love”, “Looks That Kill”, “Smokin’ In The Boys Room”, “Home Sweet Home”, “Wild Side”, “Girls, Girls, Girls”, “Dr. Feelgood”, “Kickstart My Heart”, “Don’t Go Away Mad (Just Go Away)”, “Without You”, “Primal Scream”, and “Afraid”. The 13th track is “Shout At The Devil”. In 2009 they used the original version, where on the old CD it was “Shout At The Devil ’97” (a re-recording from Generation Swine).
Three tracks were previously released as “new” songs on other greatest hits CDs: “Primal Scream” (Decade of Decadence), “Sick Love Song” and “If I Die Tomorrow” (Red, White & Crue).
Two tracks were from the newest Motley platter, Saints Of Los Angeles: The title track, and a brand-new remix of “The Animal In Me” featuring more keyboards.
Zero tracks from the albums Motley Crue or New Tattoo are included (neither album had all four original members).
There are 19 songs total included, which is a beef-up from the 1998 version, which had 17 songs. “Bitter Pill” and “Enslaved” were excluded, but both are available on Red, White & Crue (2005). The remix of “Glitter” from the 1998 version is not and is now deleted.
The songs on the update, unlike the 1998 version, are mostly in chronological order. The exception is “Afraid” which is shuffled out of place with “Sick Love Song” for reasons unknown. The flow of the album is OK, with the kickass “Too Fast For Love” starting the proceedings. The mixture of rockers to ballads is engineered for high octane, and the ballads only kick in when needed. The album only runs out of gas towards the end: “Sick Love Song” isn’t very good didn’t require a second look here. “Bitter Pill” should have been kept instead. The final track “The Animal In Me” is just too slow for a closing song. “Saints Of Los Angeles” would have been more appropriate to close this set.
Even though the 2009 update has 19 songs compared to 17, the ’98 version wins due to the inclusion of “Bitter Pill” and “Enslaved”. It’s more enjoyable listen from start to finish, with better flow and song order. The ’09 Greate$t Hit$ smacks of an obvious cash grab. Check out the liner notes. They haven’t even been updated. The essays are 10 years out of date, the notes refer to the “two new songs” (which aren’t there), and the back cover artwork still reflects “Bitter Pill”. Essentially, the only changes to the packaging are the colours with a new slipcase added, displaying a newer band photo from the Saints sessions.
1989: A clean and sober Motley Crue take over the world. Dr. Feelgood climbs to #1 and the band rivals Bon Jovi and Def Leppard in the popularity stakes.
1990: Motley continue to tour and rock them all, while announcing their next album will be a “greatest hits”.
1991:Decade of Decadence is released, keeping Motley on the charts. The new single “Primal Scream” is well received.
1992: In a shock announcement, Vince Neil is fired from the band. Unfortunately Motley are not the only rock band to lose their singer at the beginning of the 90s.
1993: Vince Neil’s solo debut Exposed is greeted by warm reviews. Motley continue to toil in the studio with new singer John Corabi.
1994: Five years after Dr. Feelgood, the re-imagined Motley finally return with the self-titled Motley Crue. Corabi blows ’em away, but the album fails to sell. Motley is forced to do a scaled down tour while the CD dropped off the charts.
This was the state of the Crue in the mid 90s. They had released an incredible album. Today, many fans rate it in the top three, or even at the #1 spot. My near-legendary Record Store cohort T-Rev agrees. “To me, they sounded more like a hard rock band than a hair metal band, because of that album.”
Absolutely true. They stepped far beyond the preconceived notions of Motley Crue. Guitars were detuned, lyrics were topical or personal. Tracks like “Smoke the Sky” might have passed for Soundgarden. On the other side of the coin, “Misunderstood” was an epic power ballad featuring an orchestra and Glenn fucking Hughes. There wasn’t a weak track in the bunch, but plenty of variety.
Most fans didn’t embrace it at the time, and instead moved on to current bands. Back then, nobody was interested. No Vince, no Motley? No way. Corabi was absolutely the right guy at the right time. Motley added his rhythm guitars and songwriting abilities, not to mention far more aggressive singing. The band had only gotten better. But by recording an uncompromising album with an unknown singer, they were indeed taking a chance. It didn’t pay off. When I was working at the Record Store, there was a giant pile of unsold Motley Crue CDs taking up space. They sat next to an equally tall pile of David Lee Roth’s Your Filthy Little Mouth. All the kings seemed to have been usurped.
At the Record Store, I first befriended the aforementioned T-Rev. The fact that both of us loved the Motley album didn’t hurt. T-Rev was the only person I knew who appreciated what they did. He loved that huge overproduced drum sound. Back in 1989, everybody had a Motley Crue T-shirt in the highschool halls. In 1994, we couldn’t get anyone to listen.
Through 1995 and 1996, magazines reported that Motley were back in the studio, working on a followup with Corabi. Bob Rock was back in the producer’s chair and the band wrote new songs such as “Personality #9”, “Let Us Prey”, “La Dolce Vita” and “The Year I Lived In A Day”. Things seemed to be going well, but record company pressure was intense. Bob Rock’s style was now passé and he was fired. Engineer Scott Humphrey was promoted to producer, and electronics began to dominate.
The pressure was not only on Motley Crue, but focused directly on John Corabi. Elektra records were eager to get Vince Neil back, a true “star”. John was getting frustrated in the studio while this was going on. Nothing he sang seemed to be good enough for Motley Crue anymore. He was asked to sing like Oasis or the Sisters of Mercy. John suggested that he just play rhythm guitar while they get Vince Neil to sing. Somehow, this made its way into the rumour mill. Before John Corabi was eventually fired, T-Rev and I had heard that Motley were considering this very same five-piece lineup. What a glorious sounding thing that could have been.
Ultimately the band fired John and got Vince back. They attempted to piece together the album that they’d been recording and re-recording and re-re-recording again. Mick Mars was frustrated as well, as his guitar parts kept getting rejected and remixed. In particular, Mars did not function well with Scott Humphrey.
Personally speaking, I lay these problems at the hands of Scott Humphrey. I read the book The Dirt, and that’s certainly where the band lay most of the blame. Have a look at Humphrey’s credits though. Lots of records loaded with electronics, like Rob Zombie’s Hellbilly Deluxe and Tommy Lee’s solo stuff. Humphrey started out as a keyboard player and programmer, and I think that high-tech style does not work with Motley Crue. That’s my personal opinion, never having met Scott Humphrey. I did, however, have a customer at the Record Store who knew Scott Humphrey, who is actually from Kitchener Ontario.* “Motley Crue were the problem,” he told me. “They were messed up on drugs.” They were also unfocused musically.
On January 27 1997, the reunited original Motley Crue performed on the American Music Awards. Mere months after being teased by a similar Van Halen reunion on the MTV Awards, I was relieved that Motley were playing a song rather than just standing there. But what the hell song was it?! Some strange, techno-y version of “Shout at the Devil”? It was strange, unexpected and underwhelming. Hey, cool, it was a fresh spin on an old classic. But…why?
We soon found out. The album Generation Swine came out on June 24 1997. As usual, T-Rev and I got it a few days in advance. “It sucks!” he warned me. Of the first single “Afraid”, he said “It sounds more like Def Leppard than Motley Crue.”
“Afraid” is the best song on the album, which does frankly suck. In a single stroke Motley went from one of their best albums, to one of their very worst. It was astounding how desperate they sounded, trying to incorporate these influences that have nothing to do with Motley Crue. The loops and samples and effects ruined many of the songs, but some just weren’t that good to begin with. This considered, it was an even bigger surprise that Nikki Sixx and Tommy Lee were singing lead vocals too. Sixx’s silly opener “Find Myself” was a nauseating faux-punk novelty song. Generation Swine was also unfocused in the extreme, and the muddying effects didn’t help. The electronic treatments on the drums rendered them limp, compared to the massive sound of 94’s Motley Crue. Absolutely everything on Generation Swine was inferior to Motley Crue.
Three CD singles were released for “Afraid”, which was remixed so many times trying to get it right, that they used some of the various versions as bonus tracks. The album version is fine enough, and in this one instance, the electronics enhance the song. I’d rather hear “Afraid” with the effects than without.
What did other fans think? When Generation Swine was new, one of my customers wanted to hear it before buying. “I saw that Vince Neil is back. Have you heard it?” he asked me, and I told him the truth. He was sceptical of my review, but changed his mind upon hearing it. “It doesn’t sound like them,” he said, and he’s right. I then cajoled him into listening to the 1994 album. He didn’t want to, because it didn’t have Vince Neil, but agreed to give it a shot.
Guess which album he bought? Motley ’94.
At least there’s some redemption, if only temporarily. During the Christmas season of 1998, T-Rev once again called me up to tell me about Motley Crue. There was a new compilation out, called Greate$t Hit$ [review coming tomorrow]. This time, there were two new songs: “Enslaved” and “Bitter Pill”. Both were produced by Bob Rock.
“The new songs aren’t bad,” said T-Rev. “A lot better than Generation Swine. Not as good as ‘Primal Scream'”
Right again, T-Rev. Not bad. An improvement, but not as good as what they did the first time out. That was enough for me to buy the CD. Not for Trevor, though.
I think Motley Crue were on the right track with “Enslaved” and “Bitter Pill” after the failure of Generation Swine. They obviously knew that album didn’t work, so they went back to the last thing that did. Both songs are growers, and still raise a smile to hear. Unfortunately Motley Crue blew it again. Tommy Lee and Vince Neil had a dust-up at an airport, and Lee split. He was replaced by former Ozzy Osbourne drummer, Randy Castillo.**
Fans like T-Rev and myself always supported the 1994 album, and today we’ve been justified. More and more fans have realised the quality of that CD, and increasingly hold it in high esteem. There’s something about that CD, and I’m afraid that Motley Crue never came close to touching it since.
Tommy Lee, John Corabi, Nikki Sixx & Mick Mars
* Fun fact! T-Rev’s mom dated Scott Humphrey!
** In a very sad turn of events, Castillo never got to tour with Motley Crue. He became ill and died of cancer on March 26, 2002 at age 51. His replacement, Hole’s Samantha Maloney, did the tour and resultant live video.
– “God Gave Rock & Roll to You II” (1991 Interscope single)
Kiss’ Hot in the Shade tour wasn’t a sellout, but it was well received by fans who appreciated that a bunch of older songs were back in the set. The tour was unfortunately highlighted by the June 15, 1990 date in Toronto, igniting a feud with Whitesnake. Kiss were third on a four-band bill, with David Coverdale, Steve Vai and company in the headlining slot. Paul Stanley used his stage raps to complain that Whitesnake wouldn’t let them use their full setup, including a giant sphinx. When Whitesnake hit the stage, it was to a chorus of boos. Steve Vai later stated that it was the first time he had ever been booed. Vai once even walked onstage to the sound of people chanting “Yngwie! Yngwie! Yngwie!”, but he had never been booed until the incident with Kiss in Toronto.
When the tour wrapped up in November, Kiss took a few months off before gearing up again in the new year. It was to be another album, another tour, but suddenly real life interfered.
Eric Carr hadn’t been feeling well. Flu-like symptoms turned out to be heart cancer. Simultaneously, Kiss received an offer to record a song for the sequel to Bill & Ted’s Excellent Adventure. Carr underwent surgery in April, with chemotherapy following. Having little choice, Kiss recorded without him. Eric Singer, who had performed so well on Paul Stanley’s solo tour, filled in on drums. Eric Carr, in a wig, was able to play for the music video taping. He gave his all, and did a full day’s shoot, with excellent (pun intended) results.
Unfortunately a rift was developing, with Eric Carr feeling shunned and excluded from Kiss. He was afraid he was going to be replaced, permanently, and his relationship with the band was strained. Although everybody hoped Eric would make a full recovery, he passed away from a brain haemorrhage on November 24, 1991. Eric Carr was 41.
On the same date, Freddie Mercury of Queen succumbed to AIDS. Carr’s death was barely mentioned in the news, including Rolling Stone magazine who missed it completely, prompting a harsh reply from Kiss:
If anything positive came from Eric Carr’s death, it was that Kiss were going to put all that anger and frustration back into the music. The music was to be their Revenge.
It started with “God Gave Rock & Roll to You II”, a re-imagining of an old Argent song for the Bill & Ted movie. Eric Carr may not have been well enough to play drums, but that didn’t stop him from singing. His vocals on “God Gave Rock & Roll to You II” were his last. The song wouldn’t be the same without Carr, as he can be heard sweetly harmonising with Paul Stanley. Eric Singer wasn’t credited on the single, or the final soundtrack for Bill & Ted’s Bogus Journey. It simply says “performed by Kiss”.
“God Gave Rock & Roll to You II” was important for two more reasons. First, and very significantly, it was produced by Bob Ezrin. Ezrin was responsible for the two albums that some consider Kiss’ best, and Kiss’ worst. It had been 10 years. A Kiss-Ezrin reunion was very big news for fans. It indicated that Kiss meant business this time. Secondly, “God Gave Rock & Roll to You II” was the first Paul Stanley/Gene Simmons (with Bob Ezrin and Russ Ballard) co-writing credit since 1985, and their first shared vocals in ages upon ages.
Although it didn’t make waves in 1991, “God Gave Rock & Roll to You II” has become enough of a favourite to make it onto 2015’s Kiss 40 compilation, and continue to be played live. It shows off what Kiss can really do. Yes, they can sing! Yes, they can play! This lineup could do it particularly well. It’s appropriate that Eric Carr went out on a good Kiss track. And Eric Singer was the right guy to continue.
There are three released versions of “God Gave Rock & Roll to You II”: The single edit (3:57), the soundtrack version (5:23) and the final 1992 version that was later released on the next Kiss album (5:19). The single edit cuts out too much of the grand, pompous arrangement, including the epic opening.
In an ironic twist, the version of “God Gave Rock & Roll to You II” that is in the movie has a guitar intro solo by Steve Vai. The same guy whose band got booed in Toronto thanks to Kiss.
The CD single is rounded out by two more songs from the Bill & Ted soundtrack, by Slaughter and King’s X. The King’s X track, “Junior’s Gone Wild” (previously reviewed in our mega King’s X series) has never been one of their better tunes, but as a non-album rarity, a nice one to have. Just don’t judge King’s X by this one track. Slaughter turned in something better, a fun party tune called “Shout It Out”, also a non-album recording. Slaughter, of course, were one of Kiss’ well-received opening acts on the Hot in the Shade tour. And what was their Kiss connection? Mark Slaughter and Dana Strum were in a band with Kiss’ old guitar player, called the Vinnie Vincent Invasion!
As work proceeded on the next LP, the world suddenly changed. Hard rock was out, and grunge took over MTV. This single bought Kiss a little bit of time, but it was going to be the longest gap between Kiss albums yet — three years. Revenge had to wait a little longer.
MAX WEBSTER – A Million Vacations (originally 1979, 2017 Anthem remaster)
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