IZZY STRADLIN and the JU JU HOUNDS – Izzy Stradlin and the Ju Ju Hounds (1992 Geffen)
Izzy was quick out of the gates after leaving Guns N’ Roses at the height of their success. Less than a year after his departure, a dreadlocked Izzy reappeared with his new band the Ju Ju Hounds, a Stones-y outfit also featuring Rick Richards from the Georgia Satellites. Guns’ main songwriter and rhythm guitarist unleashed an album of songs that easily could have been released in the early 1970’s.
There’s very little resemblance to Guns, aside from a few tracks on Use Your Illusion. “Pressure Drop” (the reggae classic) is redone here as a classic rock/punk hybrid, and it’s probably the only tune that you would think, “Yeah, that sounds like Guns.” “Bucket O’ Trouble” also has a distinct punk rock vibe, but the Hammond organ keeps it from going all the way. The rest of the songs are a lot more open, and far less heavy than fans were used to. Fans who “got it” loved it, and those that didn’t probably never will.
There are no bad songs on Izzy Stradlin and the Ju Ju Hounds, but there is little question about who this album sounds like. Izzy approaches it like a Keith Richards album with songs suited to his raspy voice. Izzy’s singing voice is so Stones-y and raspy that you’ll have trouble telling him apart from guest Ronnie Wood, who sings with Izzy on his own song “Take a Look at the Guy” (originally from Wood’s 1974 solo record I’ve Got My Own Album to Do, his first). “Train Tracks” is a Stradlin original that sports some tasty slide guitar straight out Wood’s book.
The single was the still-great “Shuffle it All”, which was criticized by some for a superficial resemblance to Lou Reed’s “Walk on the Wild Side”. Only the bassline has any similarity; which is admittedly a pretty significant hook. I like “Shuffle it All” better (heresy!), which easily could have been on Beggars Banquet. Those “ooo, ooo, ooo” backing vocals seal the deal for me.
There were also a couple mellow tracks. “How Will it Go” and “Come on Now Inside” are both lovely ballads with piano and acoustic guitars. “Come on Now Inside” contains a hidden bonus track called “Morning Tea”, but this isn’t really a full-fledged song of its own. This is just a percussion instrumental outro.
The Japanese edition has a bonus track called “How Much” which was also on the single for “Shuffle It All”. I’ll review that single on its own at a later time. It’s an Izzy original but you’d be forgiven for thinking it’s an old Bob Marley cover. Great tune — I’m a sucker for reggae. The song is worth it if you want to track down the single or Japanese import.
I used to get so excited back in the Record Store days, checking the purchase logs from the day before. Many times, people logged KIM MITCHELL – ST (self-titled) in the books, immediately catching my attention. The self titled Kim Mitchell EP, after all, was and remains a true rarity. CD copies go today for up to $120. When I would check the purchase logs against the physical CDs, I was always disappointed that the Kim Mitchell EP didn’t come in; rather his 1994 album Itch did. The graphics are laid out in such a way that a part-time employee who didn’t know better couldn’t see that the album was called Itch, within the name Kim Mitchell. Truth be told, I couldn’t figure out what it was called when I first started at the store in ’94 either! I was working the week it came out. “I didn’t know Kim Mitchell had a new album out!” Staring at the cover…”What’s it called?” I bought it on cassette initially.
The mid-90’s were a confusing time to be a Kim Mitchell fan. His 1992 record, Aural Fixations, was pretty straightforward and for the first time lacked lyrics written by Pye Dubois. When 1994 kicked off, the new Kim single “Acrimony” featured Kim rapping. Yes, rapping. Inappropriate comparisons to the Red Hot Chili Peppers were bandied about in the press. I did not like “Acrimony”. Some people do; in fact some people think Itch is Kim’s best CD. I am not one of those people.
So how good is Itch? Well, it’s OK. It’s not great, not like Kim’s past work with the near-legendary Max Webster, though it does return Kim to some mild musical experimentations. There are standard Kim rockers like “Wonder Where & Why” and some great grooves like “Lick Yer Finger”. “Stand” is one of those classic Kim anthems that are perfect for the car in the summer time. There are also just just plain weird moments that just don’t work. “Acrimony” is one of them, and “Lemon Wedge” is another. “Lemon Wedge” is a cool funk tune with horns, but is ruined by some guy (possibly Peter Fredette?) screaming out the chorus in a weird falsetto. Strangely though, those two songs made onto Kim’s first solo Greatest Hits CD, so maybe I’m the one who’s just not getting it.
In general Itch is a more somber album from Kim than the good time rock he produced in the 80’s. It was also bluesier (“U.S. of Ache” for example) and harder edged, but I don’t think it had the songs to back it up. Kim’s playing is fantastic of course, but you can say that about any of his albums. Kim can play circles around most rock and blues players in his sleep. He also has a crack band, featuring Ken “Spider” Sinnaeve on bass who did time in a couple legendary Canadian bands such as Loverboy and Tom Cochrane & Red Rider. Notably, Pye Dubois returned to pen the lyrics, the last time he would do so. I think the main problem with Itch comes down to the songs.
The best tune on this CD is the last one, “Cheer Us On”, a great campfire song that should have been a single. However, it wasn’t, so it’ll just have to remain one of those little-known album songs with a few diehard fans. I wouldn’t hesitate to put it on a greatest hits CD, even though it has never been used on a greatest hits CD.
As it stands, Itch was a commercial flop. It has its staunch defenders, and maybe you are one of them. Who’s right?
2.5/5 stars
Footnote: Eagle-eyed readers will recall seeingItch inRecord Store Tales Part 187; a video called “A Day in the Life at a Record Store”. Yes, a customer really did bring this album to the counter and inform me that someone had ruined the cover art with crayon. I had to tell them that it WAS the cover art!
NOTE: This is basically a review of the Deluxe edition of Live Evil. I own The Rules of Hell (2008) box set of Dio-era Sabbath, so I did not need to buy the later Deluxe of Live Evil. The 2 CD edition inside The Rules of Hell is sonically the same.
BLACK SABBATH – Live Evil (1982 Warner, 2008 Rhino)
Live Evil: Not only a palindrome, but also the last gasp of the Dio/Appice/Iommi/Butler lineup of Black Sabbath. Hard to believe that their first “official” live release was with Ronnie James Dio at the mic and not Ozzy Osbourne! This infamous live album was the last thing Sabbath did before Dio left (the first time) and it’s actually a lot better than people generally give it credit for.
Some folks may not enjoy that live, there’s only one guitar. When Iommi takes a guitar solo, the gap is filled by bassist Geezer Butler and keyboardist Geoff Nicholls. The audible keyboards in the middle of a heavy metal song like “Neon Nights” do take a little getting used to, admittedly. In the end though, it’s part of the scenery. Black Sabbath didn’t do much with live keyboards in the original Ozzy era, but they were a part of every Sabbath lineup since. There was also apparently a lot of behind the scenes bitching about instrument levels and whatnot that supposedly lead to the disintegration of the band. This remastered edition of the CD leaves me with few qualms about the sound.
Back in the 80’s and 90’s, you used to see a lot of fan rivalry. “Dio sucks!” or “Dio rules!” Today we all have the perspective to know that you can have both Ozzy and Dio, like having your cake and eating it too. Well, until Dio’s heartbreaking 2010 death, that is. It is true most singers that Sabbath have had couldn’t do the Ozzy material convincingly. Ozzy sounded genuinely disturbed and terrified on “Black Sabbath”. (“What is this that stands before me? Figure in black which points at me. Turn round quick and start to run. Find out I’m the chosen one…oh no, please God help me!”) Dio camps it up quite a bit, which is not my personal preference. The same goes for “War Pigs”. I also find that Vinny Appice just can’t cop the vibe that Bill Ward got on the drums. Ward played it very subtle, almost tribal, and Vinny plays it straight ahead. But I’ve yet to hear any lineup that can do that song as well as the original album version, including the reunited (1997-2012) Sabbath with Ozzy and Bill. (Appice also gets a drum solo on “War Pigs”; thunderous but not necessary.)
The set list for this album was pretty cool, including Mob Rules favourites “Voodoo” and an absolutely killer “Sign of the Southern Cross”. This version, melded with a long extended “Heaven and Hell”, is among the very best moments in Dio’s career. Basically, all the Dio-era material here is excellent, while the Ozzy-era stuff leaves you feeling just a little bit underwhelmed. Not to say they’re bad, they’re just…different. Two completely different singers with their own personalities. The fact is that Dio made it work live as best he could, and that’s commendable.
MVP: The super slinky Geezer Butler. The remastered edition allows us to hear with real clarity every massive note, and his bass is like a jolt of caffeine to the brain!
Since this is a 2CD set, all the between-song banter that was deleted on single disc versions has been restored. That’s important. Dio talks a lot between songs and that’s part of the album. Otherwise there is no bonus material. There are ample and interesting liner notes, and the front cover looks absolutely stunning. This is one of Sabbath’s all-time best covers (perhaps second only to their first album) and it definitely shines in this edition. (But don’t let that stop you from tracking down a vinyl copy so you can see it in its 12×12 glory!)
Shame that this was the last album of the original Dio era, but of course Dio and the band felt there needed to be additional chapters later on. And so there were. Live Evil remained a controversial album for a decade after its releasing, dividing fan and band opinions. I asked two of my esteemed Sausagefest rock scholar friends for their opinion on it, to make sure we’ve covered all the bases. This is why they had to add:
Uncle Meat: “As good as Dio was as a singer, I never really liked some of his takes on Ozzy Sabbath songs. He kinda over-sings them. It’s like he is bored with them and he appeases the singer in himself. Also the mix is pretty horrible as well. The truth is, the only great Sabbath live album isnt even a Sabbath album. Ozzy’s Speak of the Devil still sounds great today.”
Dr. Dave: “I don’t love or hate it. I like it. The most interesting thing for me, besides Dio, is the Vinny Appice take on the whole thing. More of a groove, less of a swing than Bill Ward. Not saying better, just neatly different.”
Final note: The liner notes correct Dio’s name to Ronnie James Dio. The original LP and CD had his name printed as simply “Ronnie Dio”, as a bit of a “fuck you” to the singer. They do not, however, reinstate Vinny Appice as an “official” member, having his name under “special thanks”!
3.5/5 stars. The most historic of the Sabbath live albums.
When Blackmore quit Purple for the second time, I had written the band off. I wasn’t too keen on the previous studio record The Battle Rages On, and what is Purple without the man in black? I didn’t want to hear a hack Deep Purple, struggling on to pay the bills with some sub-Blackmore player. The first time he left, it shattered the band and they were unable to continue past one record with Tommy Bolin. Then I started reading reviews of live shows with Steve Morse on guitar. Steve Morse? What the hell was that going to sound like? Morse and Ritchie Blackmore — it is hard to imagine two electric guitar players who sound less alike. (Joe Satriani was also briefly in the band to help them finish up touring commitments. Bootlegs of shows with Satriani are well worth checking out.)
When Purple finally released their new studio album Purpendicular, I had to buy it on import. It didn’t even have a North American release. When it was released officially in the US, an extra bonus track was added, so I tracked that down and bought it too. That is how much I really love this record. It had a huge impact on me musically in the mid to late 90’s, and when I saw Purple on this tour, they were smoking!
Kicking off with some of that patented Morse shredding, the oddly titled “Vavoom: Ted The Mechanic” kicks you in the teeth and won’t let go. This was, according to Gillan, done on purpose. It was a statement: “Here is our new guitar player, bitches.” Ian’s lyrics, ranging from bizarre to absurd and back again, are at their absolute peak on this album. (Check out “Somebody Stole My Guitar”.) Clearly, when the man had been freed of Blackmore’s shackles, he had been creatively revitalized. That probably followed in turn for each of the members.
The second track is the melancholy, bass-driven “Loosen My Strings”, a song which wouldn’t sound out of place on Slaves and Masters. From there, the album goes from strength to strength: The powerful progressive epic “Sometimes I Feel Like Screaming” (probably the best track on the album) to the bright and positive “A Touch Away”. Every song is backed by Morse’s unmistakable picking, miles away from Blackmore’s style of riffing, or medieval tendencies. That is not an attack against Blackmore, but sometimes a quality change can be refreshing. Morse utilizes pinch harmonics frequently on this album, which is a new sound for Deep Purple. He also utilizes long sustained notes with wide vibrato, a classic Steve Morse sound.
There are very few weak songs on Purpendicular. The plodding “Soon Forgotten” can be skipped. Not all the songs are immediate. Some of them are complex arrangements designed to take a little effort to penetrate. This album must be played a couple times for it to sink in. But when it does, stand back and prepare to be blown away. I wouldn’t want to miss “The Aviator”, a rare acoustic Purple tune. Morse lends it a celtic feel. For folks who prefer the 70’s jamming Deep Purple, check into “Rosa’s Cantina” and give a shout-out to “Hey Cisco”. And if you like it a little more straightforward and rocking, you may prefer catchy rockers like “Somebody Stole My Guitar” and “I’m Not Your Lover Now”.
I mentioned that I re-bought this album for a US bonus track. “Don’t Hold Your Breath” is a bright upbeat rock song, and worth tracking down. It’s not necessarily an album highlight, but why do without? Jon Lord’s organ sounds on this one are particularly enticing.
There was also one outtake from this album, a silly little jam/band intro called “Dick Pimple”. This was put out on a fanclub-only release, and later reissued on Ian Gillan & Tony Iommi’s compilation CD WhoCares. It’s a 10 minute track, giving the fans a rare chance to hear Purple with Morse jam just for shits & giggles. Because it’s Deep Purple, it is a quality jam, and completely unlike anything on Purpendicular.
Purpendicular was a vital record for Deep Purple. If they had blown it, that would have been it. They couldn’t have continued with any credibility if it didn’t kill. Fortunately it did. I am pleased to report that despite the tragic death of Jon Lord, Deep Purple has managed four more great records since, all with Steve Morse on guitar.
Any time there is an official Deep Purple archival release coming out, diehards have to pay attention. The current library of vintage live CDs is the Official Deep Purple (Overseas) Live Series. A mouthful. Live in Paris was the first in the series, followed by Copenhagen 1972 (which I missed but have to catch up on). Graz 1975 is the third, and it has a long history of incomplete releases going all the way back to 1976! Some songs were used on the single LP Made in Europe in that year. In 1996, five songs were remixed and included on Mk III: The Final Concerts. Now the entire April 3 show in Graz, Austria has been remixed again and released in its completion.
As a guy who owns virtually every single official Deep Purple release and catching up on the rest, I’m amazed at how crisp and fucking essential this new mix of “Burn” is. The liner notes call it “surely the best version of this song, ever.” Paice and Blackmore both play with an excitement and energy that is even above their standards. Lord too, but my God are Ian and Ritchie fueled up, laying down fill after fill that were of that moment. Ritchie was on the verge of leaving — he was gone after only two more shows. Even if you’ve heard this exact same recording of “Burn” from Mk III: The Final Concerts before, you haven’t heard it like this. This new mix kills the prior ones, rendering them almost obsolete. Ditto with “Stormbringer”, which captures all the energy that that was missing from Made in Europe.
I’m always pleased to hear “The Gypsy” from Stormbringer, an underrated track from an underrated album. Glenn Hughes’ young pipes are achingly powerful, drowning out David Coverdale. An unreleased “Lady Double Dealer” is the last short song before the show progresses on to long 10 minute or more jams. Ritchie’s manic pick scrapes are deliciously perfect. This usually isn’t one of my go-to Deep Purple songs, but this absolutely smokes any version I’ve heard before.
The first long bomber is Ritchie’s blues centerpiece, “Mistreated”. I confess I usually snooze through this one. This version will be familiar as one of the “bonus tracks” on Mk III: The Final Concerts. Ritchie is the main focus of “Mistreated”, and he stretches out far and wide, using bits from “Lazy”, “Sail Away” and classical melodies. Coverdale is much stronger vocally than he tends to be on this song. A ramshackle “Smoke on the Water” is also dull by comparison with the first part of the set. Its highlight is a long, building and breaking Jon Lord organ solo, which leads into “With a Little Help from my Friends”. “You Fool No One” is over 10 minutes, and it gives Ian Paice a chance to strut his stuff. Paice is one of those drummers that it pays off to focus on and really listen to, because he is always doing something interesting. All of this is outshined by a 20 minute “Space Truckin'”. Richard Strauss’ “Thus Spake Zarathustra” is a suitably bombastic segue, for a band of Deep Purple’s stature. They also detour into “Child in Time”. If you’re not wiped out by now, you will be by the end.
Gotta say that those responsible do a great job with these Deep Purple products. Absolutely no qualms about this release at all. Not essential to anyone but fans of Deep Purple Mk III.
MOTLEY CRUE – Saints of Los Angeles (2008 Motley Records, Japan)
Man, if there was one band due for a comeback, it was the Crue. I mean, seriously! They went from the top of their game in 1991, coming off of Feelgood and Decade, only to have their lead singer abruptly leave. Then of course the awesome new album with the new singer flopped, because he wasn’t the old singer. Vince came back, Tommy left, and the band released the mediocre New Tattoo. After a hiatus, Tommy Lee returned again for a big successful reunion tour, and the Crue finally managed to put out an album. Saints of Los Angeles was better than expected, and did hearken back to the good old days.
You hear that a lot; “hearkens back to the old days”. Aside from the overly glossy production, this album sounds like the natural followup to Dr. Feelgood and “Primal Scream”. Of course, it was contrived that way. Nikki talks about this being a concept album following the the storyline of their book The Dirt, but really that is just an excuse to revisit the old (successful) Motley sound. Sure, why not? I’ll buy that.
Despite all odds, this album does succeed. From the opener “LA.M.F.” (which is an obvious homage to “In The Beginning” from the Shout album and “T.N.T.” from Feelgood) to the final track “Going Out Swinging”, there’s hardly any filler here. Just about every song kicks. No ballads, unless you want to count “The Animal In Me” (which I don’t). Hey, and think of it: Sharp fans will recall that Feelgood itself was originally conceived as a concept album with no ballads. Interesting.*
Guitar riffs are kicking, Vince is singing as good as you could hope, and all the songs shine. There’s even the odd female backing vocal, recalling the Nasty Habits. Only the production drags this down to a lower level, I simply find it too processed and glossy. Bob Rock would have added more thud, but that’s just my opinion. Song wise, winners include the title track and first single. Other highlights are the glam “Down At The Whiskey”, “Face Down In The Dirt” (see, The Dirt is in the title!), the swaggering “What’s It Gonna Take”, and the chugging “Just Another Psycho”. Those would be my favourites on an album of consistent song quality. All but “Welcome To The Machine”, which sounds like a transparent ripoff of Ace Frehley’s “Shot Full Of Rock”. I can’t believe I seem to be the only one pointing this out.
I was disappointed by one thing: look at those writing credits. Mick Mars has just one co-write, ditto Tommy Lee. Vince Neil: No writing credits at all. Instead, the album was mostly written by Nikki and his Sixx AM cohorts James Michael and DJ Ashba along with hired songsmith Marti Frederiksen. So, is this a Crue album or another Nikki Sixx solo album featuring Motley Crue? You decide. It sounds like Motley, but c’mon. Both Mick and Tommy were cornerstones of this band’s songwriting. It feels like Nikki just got his buds to write like Mick and Tommy.
There’s one item I’d still like to get, related to this album. I want to track down the CD single for “Saints of Los Angeles”, which lacks the CrueFest nobodies’ “gang vocal”. Maybe it’s just me, but I don’t think that a bunch of nobodies from Trapt or Papa Roach need to be on a Crue album. So I’d like to hear that one.
Other than these minor complaints, Saints wins. When you’re listening you’ll forget who wrote the songs, and you’ll just dig the fact that Tommy is back on drums and Mick is playing better than ever. God bless Mick Mars — that man is a rock and roll machine. He is the MVP on Saints of Los Angeles.
OH! And the Japanese bonus tracks, let’s not forget those. The liner notes tell us nothing about where or when they were recorded, but they are obviously more recent. “Kickstart My Heart” is the first, and Vince Neil sings with that annoying habit of singing every other word. He lets the audience take lines when he can’t. “Saints” slams, though.
4/5 stars. Crue fans will love it.
*It’s true. According to a 1989 Hit Parader interview, not only were the band considering a concept album, but Nikki Sixx stated that he wanted Feelgood to be all hard rock, no ballads. The ballads they had collected such as “Rodeo” and the newer “Without You” were to be included on a second new album to be released in 1990 called Motley Crue: The Ballads. Bob Rock reportedly talked them out of the “no ballads” concept. Then the concept was recycled for what would become Motley Crue (1994). Before Vince bailed/was fired, Nikki said there were to be no ballads on the next Crue album.
ALICE COOPER – Raise the Dead: Live from Wacken (2CD/1 Blu-ray, 2014 UDR)
This beast of a set was a gift from the ever-faithful Aaron, and I do thank you so much for it. Alice Cooper in 1080i hi-def, 5.1 surround sound. The CD has more songs than the Blu-ray, so I’m going to review both simultaneously, but let you know when it’s a track that’s exclusive to CD. Let’s give’r!
“Hello Hooray”! It’s still daylight in Wacken, when Alice proclaims to “let the show begin, I’ve been ready”. Alice is resplendent in his sharp red and black stripped tux. Australian beauty Orianthi has a drip of blood in the corner her mouth, and smears of it on her guitar and arms. “Hello Hooray” leads directly into a modern version of 1989’s “House of Fire”. With the three guitars live, it has a lot more bite to it, and neat six-string twists. (“House of Fire” briefly segues into the riff from “With a Little Help From My Friends”. Remember that. That’s important.) Not letting up for a second, it’s into “No More Mr. Nice Guy” and then immediately “Under My Wheels”! There’s simply no let up as the crowd starts surfing. Alice’s six piece band are visual and boast three lead soloists.
Newer song “I’ll Bite Your Face Off” is one of only two songs from Welcome 2 My Nightmare. The cool thing is how easily Orianthi digs into the vintage guitar stylings of it. She is an absolute natural. Even though there are four other talented musicians on stage, she commands attention without even trying. Alice chases her around the stage, as she casually throws down classic guitar licks. He has changed into a black leather jacket.
“Billion Dollars Babies” takes the focus temporarily back to the oldies. Alice wields a sword impaled with money, taunting the crowd. The wheels temporarily come off with “Caffeine”. I always welcome newer material, but I’d prefer just about any other song from Welcome 2. Alice has traded the sword for a giant coffee mug that he holds dear like his “precious”. Thankfully Orianthi lays down a blazing solo (actually two) , because otherwise I’d say this is my song on which to pee. But, I wouldn’t want to miss the classic “Department of Youth” from the original Welcome to my Nightmare, one of my top 10 Alice tracks of all time.
I like a rock show with variety, so I’m glad Alice pulled “Hey Stoopid” out of his 1991 hat. In the 5.1 mix, I don’t like the way some of the guitars just kind of drop out in the verses of this arrangement. I’ll have to listen to that again. It didn’t sound right. Otherwise it’s great with plenty of shredding. “Dirty Diamonds” was another surprise. I saw Alice play that one here in Kitchener on the Dirty Diamonds tour. That whole album is excellent, but the title track has a smoking riff. Drummer Glen Sobol gets a moment in the spotlight, accompanied by bassist Chuck Garric. A drum solo in the middle of an Alice Cooper show is not always a good thing, but this is actually a cool, worthwhile solo. There’s some crazy hand-over-hand stuff, tricks with sticks, and interesting cymbal work. Then it’s Orianthi’s turn. She is, without a doubt in my mind, one of the best guitar players out there today. Every note is worth something. The whole band come together at the front line, and the crowd goes nuts! Meanwhile….
As good as the solos are, in the context of the Alice Cooper show, they were merely a distraction. Where did Alice go? The opening strains of “Welcome to My Nightmare” indicate Act II has begun. He has emerged as the Showman. Weilding a dagger in one hand, he leads the charge into 1976’s “Go to Hell”. The two songs serve as a wicked intro to the theatrical part of the show. Alice attacks lead soloist Ryan Roxie with a whip, but it doesn’t phase the guitarist who safely evades him.
Out of Alice’s trick bag comes “He’s Back (The Man Behind the Mask)” the legendary campy 80’s theme from Friday the 13th Part III. Stripped of the keyboards and drum machines, it functions as a living, rocking entity. The three guitars enable the band to fill the spaces previously played by synths in the studio. Orianthi’s guitar solo just leaves my jaw on the floor. Keeping with the monster theme is “Feed My Frankenstein” from Hey Stoopid and Wayne’s World. Alice has changed into a blood smeared smock. He is strapped to an evil looking device by “Igor” and electrocuted! Then a monster-sized Franken-Alice appears to finish the song! The real Alice returns in a straight jacket for the still haunting “Dwight Fry”. This most intense Cooper classic is well served by three guitarists, loaning a “Freebird” epic quality to it live. “I’ve gotta get out of here!” screams Alice with the agony he manages to muster for every performance. Breaking free of his bonds, he attacks Nurse Sheryl, only be executed to the tune of the exit music from “Killer”. It’s the guillotine again for Alice Cooper. His head is hoisted into the air by a black-clad executioner to a chorus of “I Love the Dead” (Alice singing off-stage). Act II is over. Act III is beginning.
Though uncredited, the opening music for “DaDa” (from 1983’s DaDa, a cool cameo) plays as Alice is surgically resurrected in the graveyard of the Hollywood Vampires. The Hollywood Vampires were the drinking club down at the Rainbow…the teachers and the students. Lennon and Keith Moon passed down the ways of drinking to the likes of Vincent Furnier and Marc Bolan. A voice booms to Alice, “What are you going to do? Raise the dead?” So that’s what Alice does….
First it’s Morrison. The Doors’ “Break on Through” finally has balls to it! I never liked the Doors. I like Alice doing the Doors, so they can’t be all that bad. What’s interesting is how Alice can morph his voice to suit these covers. He uses a lower, howling early Alice voice to do the Doors. For the next track, “Revolution” (exclusive to CD) he uses his nasal Cooper voice, to cop that Beatles feel. He also does the opening McCartney scream…of course. You have to have that. The band hit the high backing notes perfectly too. The classic riff to “Foxy Lady”(exclusive to CD) indicates that Jimi Hendrix is the next Hollywood Vampire to be honored. Another cool connection is that both Alice and Jimi were important musical icons honored in the movie Wayne’s World. And the song was “Foxy Lady”. Next it’s Keith Moon and “My Generation”. Chuck Garric gets a moment to shine on those glorious Entwistle bass licks. It’s quite a bit more modern and slick than the Who’s, but the backing vocals are remarkably authentic.
Thematically “My Generation” connects to “I’m Eighteen”. Ryan Roxie and Orianthi both play solos on “Eighteen”, and smoke each one. Then, “Poison” is the final song of the set, a slick reminder that Alice Cooper survived the 1970’s only to become more popular than ever in the 80’s, 90’s and present. “Poison” has stood the test of time. It’s not a particularly simple song; just listen to those backing vocals. They have to be right, they can’t be off. Although I hadn’t really thought of “Poison” as a set closer, it does work in that slot and ends the show on a celebratory note.
The encore of “School’s Out” is the real celebration of course; the stage ablaze with lights and Alice clad in gold. It’s a mash-up with “Another Brick in the Wall”, proving again that mash-ups can sometimes produce fascinating results. I love Alice’s stage introductions for the musicians. “In a world where evil has a name, and that name is…Orianthi! And playing the part of Alice Cooper tonight…me!”
But Nurse Sheryl returns to the stage one last time and stabs Alice! I have a feeling our anti-hero will be back to terrorize us again on another tour….
There is only one Blu-ray bonus feature. The pre-Wacken interview with Alice is cool because it’s completely uncut. It’s only 20 minutes, but it’s insightful. Cooper is always a pleasure to listen to. The concept behind Raise the Dead revolves around his old, long gone buddies from the Hollywood Vampire. With this show, Cooper is paying tribute back to those guys, his idols and friends. The show has some history to it, he says. A little bit of a lesson. But the kids already know the songs, says Alice. The tunes like “Foxy Lady” and “Break on Through” are already familiar to them. Every kid seems to own a classic rock T-shirt.
Cooper muses that his live show is probably as close to Broadway as many of his new young fans will ever see. He reminds us that he has his own Broadway influences — “Gutter Cat vs. the Jets” from West Side Story, for example. His own solo band is so tight now that he doesn’t have to worry about the music part. Alice can get on with the show and performance, because the music is in good hands. He has particular praise for the stage presence and chops of Orianthi. As for the show, It’s no longer about shock, says Alice. You can’t shock the audience anymore. Now, it’s about entertainment. Give them something entertaining and of good value.
The hidden theme in the show is that everything is connected. The kids pick up on the connections behind the music. “School’s Out” and “Another Brick in the Wall” are presented as a medley. Who produced both songs? Whose kids are on both songs? Bob Ezrin. Connections!
The Blu-ray also has a substantial booklet included, the kind of thing that people who buy physical product still care about. I’d rather have this than a crappy photo slide show or text on a DVD. My only quibble is that I was underwhelmed by the 5.1 mix. I may have had my setting messed up, and I will have to try again. It was “Hey Stoopid” where this was particularly unpleasant to me. I’ll have to check that and try again. There is absolutely nothing wrong with the CDs, which sound friggin’ great.
RECORD STORE TALES MkII: Getting More Tale #350 The Year in Review / Top Five of 2014
Another year come and gone! Am I older and wiser? I think so, musically speaking anyway! It was a great year for music (and a baffling year too, hello Scott Stapp and Phil Rudd)! Narrowing down my favourites to a Top Five wasn’t all that difficult once I thought about it. There were some clear contenders so it was more about sorting out the order. I’ll save the Top Five(s) for last.
I lost two friends this year, both of whom went way too soon. Both had moved out of town long ago (one out of the country), but we recently reconnected via social media. Warren was the guy who helped get me started on this crazy journey of writing, being the first to publish me. George, an old friend from childhood, helped me discover Kiss. Both left this earth in 2014, and the world is sadder for it. Rest in peace boys.
That aside, my proudest writing achievement was finally finishing the Record Store Tales. I had so much fun sharing those stories over the years. I took my time ending it; I was having a good time. But I knew there were people who wouldn’t like it; that’s happened before. Again I’ll apologize to the two who complained, for any offence I caused them. These two guys were friends from the store, but neither had really expressed any support for what I was doing, and I don’t think they particularly liked it. I never had anything bad to say about either of them, but I get that they might not like things I had to say about their friends; I totally get that. I also get that they had different experiences at the Record Store than I did. That’s fine. I want to be clear that my experience was mine alone. I cannot speak for anyone but myself. (Interesting footnote though: Back in Part 170, I mentioned that our accountant Jonathan used to talk about who he trusted at the store, and who he didn’t. One of the people he never trusted was one of those two guys, because of his personal friendship with the higher-ups. Just a footnote.)
Anyway, I don’t want to focus on the negative. I did some rough calculations and by reckoning, the number of Record Store Tales that were negative towards the store was only about 16%.
So! Onto the lists! My Top Ten Favourite Record Store Tales of 2014:
As an added bonus, I also found my Top Five Albums of 2004 among my journals! For shits n’ giggles, here is a “bonus” installment of Record Store Tales for you! And Happy New Year to ya!
BONUS RECORD STORE TALES Part 350: Top Five of 2004
5. BRANT BJORK – Local Angel
4. PEARL JAM – Live at Benaroya Hall: October 22, 2003
3. THE KILLERS – Hot Fuss
2. THE HIVES – Tyrannosaurus Hives 1.MARILLION – Marbles
Stay tuned for more Top Lists of 2014 in the days ahead!
Christmas gift review! This one came from my sister and husband Melvin.
JOURNEY – Live in Houston: Escape Tour 1981(2006 Columbia CD/DVD set)
Released in 2006, the Live in Houston CD/DVD set by Journey chronicles the band at their peak. This is a vintage MTV concert finally released for sale. Opening with the brand new title track from the brand new album Escape was a good idea. Its fast paced pyrotechnics fire up the crowd appropriately. Steve Perry is resplendent in his tuxedo jacket, jeans, and animal-print T-shirt. Now this is a fucking concert. If the guy couldn’t sing like the angels, then he couldn’t get away with that shit, but it’s Steve Fucking Perry. At his peak. A great frontman with the classic voice. His vocal acrobatics rival the furious fretwork of his bandmate Neal Schon. Personally, I think Bon Jovi owes a lot to Steve Perry’s schtick.
Not letting up, the opening salvo is concluded with “Line of Fire” before it’s time for the ballads. It’s a great little rock boogie that gives the band a chance to play hard. Perry then informs the band that they are recording a live MTV special (as if you couldn’t tell by Schon’s MTV T-shirt). If that can’t get a crowd screaming for “Lights”, nothing will. This kind of song isn’t my thing really, but it is always a pleasure listening to Steve sing. Live, he’s that much more entrancing. Superhuman, really. “Lights” merges with the ballad “Stay Awhile”, which I think is the better song. Listen to that fucker sing! Then it’s time for a new ballad, “Open Arms”. This is where I step out to pee.
Neal Schon’s favourite new song from Escape was “Mother, Father”, a dramatic heavy ballad. Perry kicks this song in the ass, but it’s the anthemic chorus that you can’t forget. And people — Steve Perry hits every single one of the high notes at the end. Every. Single. One.
New kid Jon Cain takes a moment for a piano solo, while Steve Perry no doubt drinks something cold and soothing! I like that Jon tucked his sleeveless animal print shirt into his jeans. Gotta look presentable, of course. New ballad “Who’s Cryin’ Now” is greeted by high pitched screams, indicating the crowd really know this one. Perry has lost the tux jacket, revealing that he is not a T-shirt tucker. Schon’s solo is epic, in how it builds from one simple melody into something completely different and blazingly fast.
The crowd goes nuts for the rocker “Where Were You”, on which drummer Steve Smith absolutely blows the doors off. I love watching him play with classic grip. He’s the next member to get a solo, and I can’t help but notice he has tucked his T-shirt into his jeans. Interesting. I didn’t expect that from the drummer. The solo is a scorcher, leading directly into the new rocker “Dead Or Alive”. Steve Perry looks a lot more awkward dancing to this one, but his voice leaves no doubt. Nobody else could sing the song the way Perry did. Nobody.
Steve announces from the stage that Escape just went #1 in the US a mere three weeks before. The crowd then goes insane for the opening keys of “Don’t Stop Believin'”. As on the album, I love Steve Smith’s cymbal work; it’s just overpowered by the live sound of the band. You can tell that the sound wasn’t tampered with, as Neal hits a bum note in the solo and it was left in. The lush backing vocals seem to be provided live by Schon, Valory and Cain. Then it’s time for “Stone In Love”, another newbie. This hard rock classic features Jonathan Cain abandoning the keyboards and joining the frontline on guitar. This allows Schon the ability to throw in more solos and licks; meanwhile when piano is needed, Steve Perry jumps behind the keys! Then it’s time for “Keep On Runnin'”, again with Cain up front on guitar. It’s another solid rock song, although a bit of a throw-away compared to the rest of Escape. Schon then gets his chance to solo, as a lead in to “Wheel in the Sky”. It’s a note-perfect live version, and full of energy.
For encores, it’s the annoying “Lovin’, Touchin’, Squeezin'” and “Anyway You Want It”. The only good thing about “Lovin’, Touchin'” is the guitar solo with some tasty slide for added flavor. “Anyway You Want It” is ragged. It’s a hard song to sing to begin with, but Perry is running around so much that it’s bound to fall apart at times. It’s a magnificent finish.
The CD version has a bonus track: “The Party’s Over (Hopelessly in Love)”. I don’t know why it’s not on the DVD version. I think it’s one of Journey’s best also-rans. Maybe the film had deteriorated too much to use for that one song? Who knows. Anyway (you want it), you can get it on CD.
It’s also worth pointing out that three songs (“Don’t Stop Believin'”, “Open Arms”, and “Who’s Cryin’ Now”) were all re-released on the remastered Escape CD. So if you’re browsing at the store thinking, “Hey, look, it’s Escape with bonus tracks, I need that,”…no you don’t. Just get this. Always better to have the full concert!
The bonus interviews are pretty neat. Members discuss how they found their way into Journey via manager Herbie Herbert. Neal Schon is almost hilariously young looking. Perry sports the shadow of a moustache, appearing as if he would have had trouble growing a full one. Bassist Ross Valory speaks of the band’s earlier preference for instrumental music, supplanted by a switch to vocal songs. The interviews are broken up topically and are made up from a variety of sources. In the section about touring, Steve Perry reveals that after being driven around everywhere in a limo, when he gets home from the road he feels like he’s forgotten how to drive! It’s worth it, though: all their best songs were written on the road.
The DVD also includes a photo slide show that nobody will watch. It’s only a minute or two long. Some of these pics, I’ve seen before. Neal Schon does make great “guitar faces”, possibly the best ever. The original TV ad for the Escape album is hilarious in its 80’s cheesiness.
We all know the story, now. Malcolm Young, felled by dementia, and his brother Angus carrying on without him (and possibly without drummer Phil Rudd). AC/DC don’t want to dwell on the negative, and neither do I. Angus assembled 11 new songs from parts that he and Mal had worked on together before he was too sick to continue. Nephew Stevie Young, who filled in for Uncle Mal in 1988, stepped up again to do so, this time in a permanent capacity. But you wouldn’t know any of that by hearing Rock or Bust.
Sharp as ever, “Rock or Bust”, the current single boasts one of those menacing AC/DC riffs paired with that slow groove they do so well. “In rock we trust, it’s rock or bust”. Nothing has changed! There is little difference between Rock or Bust and the AC/DC back catalogue since 1980 in general. New batch of riffs, songs, and melodies. That’s about it! “Play Ball” has that familiar “AC/DC single” vibe. Not too heavy, not too fast, but just right for radio. Brian Johnson’s voice has changed very little since the 1990’s. He doesn’t screech like it’s 1981 (duh), but he gets the job done fine. Johnson reported that he found it hard to continue on without Malcolm but his performance is full of the joi de vivre that you need in an AC/DC song.
“Rock the Blues Away” has future single written all over it. This old-timey AC/DC riff is one of those classic rock and roll licks that they used to do with Bon Scott on albums like Dirty Deeds. True to its title, the song does indeed rock the blues away and I can’t wait to give it a test run in the car. This is a summer time song, not a December song! However I should point out that it’s more or less the same song as “Anything Goes” from Black Ice. A left turn on “Miss Adventure” yields some funky AC/DC grooves not unlike what they were doing in the mid 1980’s. It’s unfortunately the first dud on the album for me. “Dogs of War” redeems it, with a “Razor’s Edge” dark vibe. The only real noticeable difference from past AC/DC albums is a slicker production on the backing vocals.
Do you need some rock & roll thunder? AC/DC got it. “Got Some Rock & Roll Thunder” has one of those jangly AC/DC riffs, backing a catchy chorus. This sounds a bit like material from Stiff Upper Lip, which is a good thing to me. “Hard Times” also sounds similar to that era. They’re good enough songs to serve as AC/DC album tracks. Then there’s “Baptism of Fire”, back to those fast AC/DC beats that you need every once in a while.
A track that I think should be played live is “Rock the House”. This has classic written all over it. Taking on a “Whole Lotta Love” groove, it’s hard to resist the urge to bang your head. Go ahead, try.
“Sweet Candy” is an ode to strippers, of course. What did you expect? Look forward to another singalong slow AC/DC groove. I have a feeling a few strippers are going to add this song to their repertoire next year. Then, ending the album on a funky note is “Emission Control”. There are also nods and winks to the Mutt Lange era of AC/DC with the thick backing vocals. The song throws me for a loop a bit; I’m not sure if I like it or not.
I found Brendan O’Brien’s production to be a bit thuddy and less bright than Black Ice. It still gets the job done, as does Rock or Bust.
IZZY STRADLIN and the JU JU HOUNDS – Izzy Stradlin and the Ju Ju Hounds (1992 Geffen)
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