The one VHS tape I’m working on currently spans a period of recordings from about July 1986 to September 1987. This Hear N’ Aid special features a MuchMusic interview conducted by J.D. (John) Roberts. There’s lots of exclusive information in this valuable video, including a tidbit on bands who refused to be in the same project as Spinal Tap!
DOKKEN – Return to the East Live (2018 Frontiers Japan CD/region 2 – DVD set)
Even the most devout Dokken fan must acknowledge that Don is not the be-all and end-all of singers. A good singer, yes, but never in the top tier. Now that age has taken its toll (as it always does), Don relies on the backup singing of Jeff Pilson, Mick Brown, and George Lynch to hit those high notes. The classic Dokken lineup reunited for some shows in Japan, and even recorded a new song to go with it. Fortunately Dokken were up to the challenge, even with the shortcomings that age creates.
Some of the audience looks too young to have known Dokken when they first rocked Japan back in the 80s, but most are die-hards. Don himself looks cool as a cucumber, with George and Jeff on either side holding down the fort. Most importantly it seems they had a good time. Lynch is simply compelling to watch, as he plays impossible licks while making it look so easy.
There’s no messing around with this setlist. All classic Dokken, all 80s, no filler. They focused on what the fans wanted and they delivered. The band sounded great. Pilson’s all-important bass is given enough room in the mix to be effective. Songs like “It’s Not Love”, “The Hunter” and especially “Alone Again” buzz with electricity. Vocally, with great backup singers like Jeff, the band were able to pull it off. It’s a high energy reunion show. It’s just too bad so many people in the audience spent it on their phones.
The DVD and CD tracklists are, strangely, not in the same order. You can hear some obvious vocal overdubs in places, most notably “Kiss of Death”. There are some sloppy edits on the video. Don’s lips don’t always match the words, and there are annoying graphic overlays, but it’s a good show with plenty of closeups. Jeff Pilson is a dynamo on stage, but Wild Mick has lost nothing over the years either. He hammers on his kit as if he’s still 25 years old! There is little interaction between the members on stage, except for Jeff who is all over the place, including the keyboards. Don grins like a Cheshire cat when George lays down those familiar solos. He picks up the guitar himself for oldies like “Breakin’ the Chains”.
Both the CD and DVD portion have unique bonus content. After the main feature, you will find 45 minutes of behind the scenes footage, directed by Don. Shaky camera work aside, this is fascinating fly-on-the-wall stuff. Chatterbox Don is full of energy, even when losing his fedora hat. Eagle-eyed Trailer Park Boys fans will recognise road manager Tom Mayhue, their nemesis in the Out of the Park series. As the band pick apart the set and put it back together again, you get a real sense that they just wanted to get it right but not at the expense of fun.
You will find two exclusive bonus acoustic songs on the CD. “Heaven Sent” (with congas) and the obscure “Will the Sun Rise” are studio re-recordings, giving both songs a fresh, mellow gleam. That’s not the main feature, however. For obvious reasons, the brand new song “It’s Another Day” is the centrepiece, and as such it is presented as the very first track on the disc. While the live set is undoubtedly a very significant memento for fans, nothing really excites them like a brand new song — their first together as the classic lineup two decades. And it’s a solid B+. Grooving with a head of steam, “It’s Another Day” is very reminiscent of the excellent and underrated Dysfunctional album from 1995.
The Japanese bonus track this time is the early Dokken classic “Paris is Burning” live, which is also on the DVD but not the standard CD or download versions. Don’t you hate when a track is missing that is only on the DVD? Sure you do.
Jeff Pilson says that he wanted Dokken to end (if this is the end) on an up note. “Just a really positive exclamation point to a great career. Wouldn’t that be wonderful?”
DON DOKKEN – Up From the Ashes (1990 Geffen)
“The best revenge is to live well.” — Don Dokken’s liner notes. Passive aggressive much?
Dokken imploded in 1989 not with a bang but a whimper. Rather than remembering the live album they finished with (Beast From the East), people recall the animosity and bitter attacks in the rock press. George Lynch and Mick Brown began Lynch Mob, while Jeff Pilson formed War & Peace. Don Dokken meanwhile was cooking up a hot new band. The only issue was the name. The ex-members, who owned a stake in the Dokken name, refused to let Don use it. They also shot down the names “Dokken II” and “DKN”. (Reportedly Dokken was told if he wanted to just use the vowels “OE” for his new band, that would be fine with the others!) Don was understandably upset that he couldn’t use his own last name for his name, so he opted to bill himself as Don Dokken the solo artist.
His solo band was a killer. Fresh out of Europe with a smash hit album under his belt, John Norum joined on guitar. Billy White from the thrash metal band Watchtower was the second guitar player, giving Dokken a double guitar lineup (or three if you count Don himself). King Diamond’s Mikkey Dee was aboard on drums, several years away from joining Motorhead (and now Scorpions). Rounding out the band was veteran Accept bassist Peter Baltes, who played with Dokken in their earliest days.
With all this burning anger coupled with tremendous instrumental firepower, one might expect Don to come back rockin’ harder than ever. His solo album Up From the Ashes was a down-ratchet from Dokken, slightly, with an emphasis on melodic rock. It did however continue the core Dokken sound, with some biting and very Lynch-like guitar riffs.
Entering with the kind of jagged riffs that made Dokken famous, “Crash ‘N Burn” sounds almost exactly like Don’s old band. Hard rock, smooth vocals, and six-string acrobatics. There is no familiar Jeff Pilson backing vocal, but Peter Baltes and John Norum get the job done. The incredibly impressive guitar histrionics are clearly not George Lynch, but fans will love what John and Billy White cooked up. A strong follow-up called “1000 Miles Away” sits in a comfortable mid-tempo rock zone. It’s not a ballad, it’s not a rocker, but it’s somewhere in between. Hit material. The album’s single was a track called “Mirror Mirror”, with a stuttery Van Halen riff. The lyrics are very telling:
“Mirror mirror, on the wall,
Seven years, I survived them all,
Mirror mirror, tell me more,
If that was love, then love is war.”
Dokken had a roughly seven-year long life as a recording band, so think what you will.
A lot of Up From the Ashes fits into a nice little hard rock box, a little smoother around than edges than classic Dokken, but strong as ever. “When Some Nights” has a similar vibe to “1000 Miles Away”, and there are many others. No real weak songs abide within. There are only a few that are head and shoulders standouts. Among these is “Living a Lie”, a sharp Norum co-write with a Europe-like sound. Also up there, “Give It Up” is a brief blast of rock. “Stay” leans in a slightly more pop direction, successfully so.
Drony ballads are less impressive. “When Love Finds a Fool” is fortunately the only one, which does at least boast some impressive musical contributions from all the players. The momentum is killed by starting side two with this slow Scorpions-wannabe. Another issue is a slightly damp production, which makes the drums sound woefully underpowered. This is a shame since Mikkey Dee is such a drum demon.
With Up From the Ashes, Don re-established himself. Nobody could accuse him of leaning on George Lynch. With the benefit of 20/20 hindsight, this band really should have been called Dokken.
It’s a shame I lost my original 1993 review of this album.
GEORGE LYNCH – Sacred Groove (1993 Elektra)
If you like Dokken but never followed George onto the Lynch Mob, then this album is for you.
George Lynch is a very talented shredder, capable of playing a wide variety of styles. Sometimes he hits, sometimes he misses, but on Sacred Groove he makes the mark every time. Sacred Groove was designed as a solo project shortly after the second Lynch Mob album. The idea was to work and write with different singers and musicians, and George loaded up on some great singers. Glenn Hughes, anyone?
John Cuniberti, who co-helmed many Joe Satriani albums, produced this opus and lent it some serious sonic excellence. The opener “Memory Jack” is a collaboration between producer and guitarist, but this is little more than a sound collage to kick off a killer instrumental called “Love Power From the Mama Head”. This isn’t to say that “Memory Jack” does not contain some shredding licks, because it does…but they are not the focus. The sound collage itself is the focus. Into “Love Power”, George lays down some serious riffy rhythm guitars. This is topped with a very Satriani-esque guitar melody. “Love Power” is constructed very much like a Satch rock instrumental track, with memorable guitar melodies and song structures.
There is a very cool moment in the guitar solo in “Love Power From the Mama Head”, at exactly 4:47. While George was essentially assaulting his guitar with the whammy bar, he accidentally dropped the instrument on the studio floor. “Shit!” said George, while producer Cuniberti ran over and stopped George from picking it up. The producer then kicked the guitar for added effect! Cuniberti assured George it would sound cool, and it kind of does! The guitar just stops on this weird chord-like sound, before they punch out of that and into more shredding. It’s different and spontaneous and I love shit like that.
“Flesh and Blood”, contender for best track on the album, is the first vocal, featuring Badlands’ Ray Gillen (R.I.P.). It’s a Dokken stomper for sure, but with Ray Gillen’s bluesy Coverdale-isms all over it. Killer. The lyrics were co-written by George’s ex-Dokken bandmate Jeff Pilson, who also co-wrote and plays bass on the next track, “We Don’t Own This World”.
Now here’s the interesting thing about “We Don’t Own This World”. Lyrics by: Don Dokken? The fuck?
George, Don and Jeff had planned to reunite on this one song, that Don supplied the lyrics for. Don however cancelled or chickened out (either/or) and didn’t make it to the session. It just so happened that the Nelson twins, Matthew and Gunnar, were in town and eagerly sang on the track in Don’s absence. With their harmonies, “We Don’t Own This World” sounds nothing like Dokken, except in basic ways. It’s the most commercial track on the album; a pop rocker. The vocals soar over one killer melody, and the solo is one of George’s best. If this song had come out only two years sooner, it would have been a hit single. The Nelsons have done some cool music over the years, and not gotten a lot of credit for it, so this song is pure delight.
I still think of CDs as “albums” with distinct sides, and on the cassette version “I Will Remember” closed Side One. This instrumental ballad has a vaguely dark tropical feel, although it is an electric guitar song. George’s solos are sublime and I love his unexpected timing on certain notes. He has flawless chops mixed with feel…a rare combination.
Side Two’s opener is an epic in two parts, but it’s as close to a skip as this album gets. The problem is vocalist Mandy Lion, of WWIII. You either like his glass-garling-elfin-metal voice or you do not. I do not. However, “The Beast” Parts I and II are such a slamming groove that I tend to block out the words and the voice singing them. This is another track where the original vocalist slated could not do it. Udo Dirkschneider wanted too much money and Rob Halford was too busy, but Mandy Lion would do it. He showed up at the studio in the heat of summer wearing head to toe black leather.
“The Beast” could be a dirty sex anthem, I guess, but it’s far too heavy for the 50 Shades crowd. I dig when halfway through, George breaks out his newly-bought sitar. (I remember seeing pictures of George in Metal Edge magazine buying it!) If only Mandy would have chosen to shut up at this moment. Bassist Chris Solberg comes in and grooves through to a false ending, and then it’s “Part II (Addiction to the Friction)” — a 10 minute track in total. Thankfully a huge chunk of it is instrumental.
The regal Glenn Hughes raises the bar any time he opens his mouth. His two songs were the first new Hughes singing I had heard since Black Sabbath. I detect some fragility in his voice here. I think this may be from a period where Glenn was recovering from addictions. Regardless, he sounds a lot better today, whatever the reasons are. That’s not to say he’s bad here, because he’s still the best singer on the album. You just feel he’s not giving it everything like he does today.
“Not Necessary Evil” is Glenn’s first song, a Dokken groove with Hughes’ soulful signature style. This one too had hit single potential, but only in an alternate timeline in which Rock never fell to the Grunge Hordes in 1991. “Cry of the Brave” is his second track, a slower and more soulful rock track. This is a song about injustice to the American Indian (reading the lyrics, I’m assuming specifically Leonard Peltier), and it’s worth noting that Glenn wrote the lyrics by himself.
The album closes with a final instrumental called “Tierra Del Fuego”, and if you couldn’t guess, that means George breaks out the flamenco guitar. There’s also a guest electric guitar soloist named Daryl Gable. If I remember the story correctly, Daryl Gable was a lucky fan who was selected to have a guest shot on the album. How cool is that? And he’s pretty good, too! I have to admit I like these dusky tropical flamenco things, so I consider “Tierra Del Fuego” to be a very successful album closer. But fear not, there’s plenty of electric guitar too!
Sacred Groove is pretty damn near flawless. If only they could have got Udo instead of Mandy, eh?
DOKKEN – Dysfunctional (1995 Columbia)
No matter how good the band may have been, when Dokken reunited for a new album in 1995, it was a no-win scenario. They always seemed to be one of those bands that critics loved to hate. I read a ridiculous review of Dysfunctional that said, “If Don Dokken fell in a forest, would he make a sound? And if he did, could they get George Lynch to solo over it for an hour?” What a stupid review. The album deserves a lot of praise, because when Dokken did reunite, the music was as strong as ever. They had discovered modern groove, added onto their lush harmony vocals, and it managed to sell 300,000 copies.
Dysfunctional was conceived originally as the second Don Dokken solo album, which just happened to have Mick Brown and Jeff Pilson on it. (Jeff had recently split from Dio.) The record company persuaded Don to call up George Lynch and make it a true Dokken album. Originally George was just supposed to come in and re-do the guitar solos, but Don wanted George’s rhythm. That was smart. George ended up with writing credits on most of the songs in the process.
I have to admit that when this came out, a new Dokken album was the last thing I expected to see. Deep into the grunge years, Dokken came out flying with a modern melodic hard rock record with warmth, depth and awesome production values (by Don and Michael Wagener). Raging solos, great ballads, glorious riffs, and those Dokken harmony vocals mark one of the best Dokken albums of their career. It’s certainly lots better than the ones I’ve heard that followed it.
There are lots of highlights. No songs suck, but some are better than others. The best tune was the 7-minute single, “Too High to Fly”. I don’t know who came up with the riff, whether it was Don or George, but this song kicks ass. Jeff Pilson gets into a wicked bass groove, dominating the verses. Don’s lead vocal is among his most impassioned and the band is smoking. This is a shoulda-been Dokken classic. I am given to understand that it is the only song from Dysfunctional that is still played live from time to time.
Other favourites include “Inside Looking Out”, which shares the same grooving direction. “Long Way Home” is like classic Ye Olde Dokken and could have fit in on Back for the Attack next to “Mr. Scary”. On the softer side, I really like the understated “Nothing Left To Say”, a classy acoustic ballad. Jeff Pilson’s backing vocals coupled with strings create a timeless atmosphere. Then there’s the album epic: “The Maze”, a lush, multi-part progressive song with harmony vocals piled on top of harmony vocals. It doesn’t get thicker than this! The record closes on “From The Beginning”, an ELP cover and another classy acoustic song.
I don’t need to tell you how great George Lynch is. The record company were right to get him involved. He helped make this album really special. And that’s not to say that “Wild” Mick Brown or Jeff Pilson don’t bring it, because both of them did and then some. Just that George has a very unique sound. There is only one George Lynch.
Dysfunctional is a compulsory purchase if you have ever liked Dokken. It is a shame that the title proved true. George bailed after the dismal followup album (Shadowlife) and Pilson wasn’t far behind. Sad.
Nice hair, Don.
Yesterday we talked about an album that Kelly Gray (Tateryche)
wrecked produced. Today, we’re looking at another. Batten down the hatches.
DOKKEN – Shadowlife (1997 Victor Japanese import)
I got this Japanese import CD from one of our franchisees. Even though we technically were not “allowed” to buy CDs from one of our franchises, we all did it, even the head office people who enforced the rules. In this case the franchisee himself was glad to have a guaranteed sale, rather than sit on an expensive Dokken flop for several months in inventory. It even came with the original obi strip, stickers, and everything else was mint. The scarcity of the complete package was reason alone to buy it.
The infamous Shadowlife will probably go down in history as the worst Dokken album. It’s certainly the most dysfunctional (even though that was the title of the previous, much better album). The dysfunction largely came down guitarist George Lynch, who according to sources at the time, purposely sabotaged the album. He did this to put an end to Dokken, go the claims. Don himself was very unhappy with it, as quotes from the era will reveal (look them up). He also referred to a lead vocal shot (“Here I Stand”) by bassist Jeff Pilson as too “bar band-y”, meaning the lead singer of a pro band is the lead singer, and the bassist is the bassist. Clearly, ego was an issue as well.
Not to escape without blame is producer Kelly Gray, who had just ruined the career of Sven Gali a couple years prior. Gray produces, engineers, mixes, and even co-wrote a couple tracks. According to Don, Mr. Gray would not let the band sing their trademark harmonies, opting for grittier more modern sounds. Gray’s trademark distortion on the lead vocals is omnipresent.
There are very few standout tracks here, although many have good parts and interesting bits. It is difficult to remember any songs distinctly even after a few listens. The grungy “Puppet On A String” is OK, due to a blazing George Lynch guitar solo (although buried in the mix). It has a heavy groove, but the distorted lead vocal wrecks it for me. “Cracks in the Ground” is better, containing a shadow of the Dokken harmonies, but mired in boring melodies and production. “I Feel” sounds like Dokken, at least. Not really great Dokken, but Dokken nevertheless.
The Japanese, always so lucky, got two bonus tracks: “How Many Lives” and “Deep Waters”. Neither stand out any more than the album tracks. Not really a bonus this time, sorry Japan. If anything, these songs detract from the album, by making it a longer, more agonizing experience.
In general the album is too slow, too tunelessly dull, too dreary. It’s disjointed and it’s uninspired. Too rainy, like a dark Seattle mist. Mick Brown does rock, at least. There are a few heavy songs, such as “Hello”, but I think my favourite song would be the moody acoustic ballad “Convenience Store Messiah”. It’s the only song that sounds like a fully composed, complete arrangement.
Afterword: I played around the idea of just writing a two word review a-la Spinal Tap (“Shit Sandwich”). I was going to call it “Shadow Turd”. In the end, my OCD level attention to detail refused to allow it, and the wordy essay on the art of turd-making you just read was posted instead. I’m sorry. (Blame Kelly Gray for that, too.)
Part 7.5 in my series on Ace Frehley, sorta! Plenty of Ace related coolness here. For the last part of the Ace series, 12 Picks, click here.
A World With Heroes – A KISS Tribute for Cancer Care – A 40th Anniversary Celebration
Cancer sucks. Kiss rules. Agreed? Buy this CD.
Mitch Lafon executive produced this sucker, and I suspect that means a hell of a lot of work. I have never in my travels discovered a cooler Kiss tribute album. Do you really need to buy another Kiss tribute album? Do you? Yes, you do. Why? For the following reasons:
- Profits benefit the Vaudreuil-Soulanges Palliative Care Residence in Hudson, Quebec.
- Obscure track selections.
- Rare Kiss related gems, such as two Peter Criss Band demos with Phil Naro.
- New Brighton Rock! Finally.
- Superstar performers including Mark Tornillo of Accept, Russ Dwarf, Don Dokken, Bonfire, Sean Kelly, Vinny Appice, L.A. Guns, Doro, and many more.
- Members of the Kiss family including Eric Carr, Peter Criss, Frehley’s Comet (minus Frehley), Bob Kulick and Phil Naro.
I can’t say enough good things about this compilation. Upon first sight, it had enough rarities from artists I liked, as well as Kiss obscurities, to make it a must-have. Hearing it, I’m blown away repeatedly. It is a heady brew of hits and deep, deep cuts. Since there are 51 tracks in total, I can’t go into too much detail. I’ll point out some personal favourite moments.
I’m a huge fan of the Revenge album, and I’m a huge fan of Accept. Hearing Mark Tornillo do his thing through “Spit” was awesome. I think the man’s vocal cords must be made of steel or something for him to sing like that. I also loved “Sure Know Something”, although I don’t know Chris Buck & Anthony Cardenas Montana. It’s a slinky version, very true to the original but with a Rod Stewart vibe. Jeff Paris does a pretty authentic “Shout Mercy” and I give him full points for doing a Monster tune, the newest Kiss song on A World With Heroes.
I’ve loved Brighton Rock since I was a kid, but I never expected them to unplug “Creatures of the Night”. This twist takes a moment to get used to, but their haunting arrangement is very original and cool! “Larger Than Life” from Alive II is revisited by Brian Tichy and friends, and they do it pretty straight to the original, almost lick for lick. It’s great. I love that Ron Young from Little Caesar sings “Little Caesar”, a nice wink and a smile there. A band called Shredmill contribute their original song “Outerspace”…which was later covered by Ace Frehley on his Anomaly album (giving himself a writing credit). Shredmill’s version is more Danzig, where Ace’s was more Ace.
On the second CD, surprises and highlights continue. Ron Keel and friends from Tesla and Cinderella knock it out of the park on “Rock N’ Roll Hell”, with a nod at the start to Keel’s own “The Right To Rock”. Rick Hughes of Quebec metal masters Sword helps blow the doors off “The Oath”, a favourite from The Elder. The L.A. Guns guys (Phil Lewis included) tackle the difficult “Master & Slave” from Carnival of Souls, and it smokes. They do it authentic to the grungy original but with Phil’s snarky vocals.
As a Killer Dwarfs fan, I’m always pleased to hear Russ Dwarf’s nasally twang, and he turns in a decent “Hard Luck Woman”. (Meanwhile, another bunch of L.A. Guns guys did their own version on disc one.) Bonfire contribute a live version of Paul Stanley’s unreleased song “Sword & Stone”, from their Live at Wacken CD. I don’t really know who American Dog are, but I love that they covered the Paul Stanley version of “God of Thunder”, not the Gene Simmons take from Destroyer. They do it the speedy rocked-up way that Paul originally demoed. Jim Crean does justice to “Magic Touch”. He’s almost Joe Lynn Turner style on this one.
The second CD ends with two takes of “Beth” (Chris VanDahl sounding like the hoarse Peter Criss on Alive II, and Phil Naro). This is in addition to Michael Lardie’s (Great White) version on disc one. Naro’s is easily the best of the three.
But wait, that’s not all, folks. iTunes are selling a 51 track version of A World With Heroes, including 11 exclusives. Thankfully, you can buy these exclusives separately if you already bought the CD (like I did). Once again, highlights are many. Doro contributes a 2013 re-recording of “Only You”, which she had a previous hit with back in 1990. Russ Dwarf returns with an outstanding “God Gave Rock and Roll To You II”. There are two previously unreleased demos by the Peter Criss Band with Phil Naro. These feature Peter on drums, but believe me, you can hear that it is the Cat Man and no one else. In addition, there’s a third song from this period, but recorded by Phil in 2013. There is also a second version of “Larger Than Life”, this time by somebody called Robot Lords Of Tokyo. I don’t know who Robot Lords Of Tokyo are, but I love “Larger Than Life” and I have no problem with another version of it. This one’s done quite differently, and heavier too.
But wait! There’s still more! Pledgers who pre-ordered the CD got four bonus tracks. I missed the boat on these, and you can’t get them anymore. I’m bummed about that, but for the sake of completion, the four bonus tracks are:
- ‘Calling Dr. Love’ – Performed by: Crash Kelly
- ‘Comin’ Home’ – Performed by: Sudden Flames
- ‘Heaven’s On Fire’ – Performed by: The Feckers (ft. Irene Slade)
- ‘I Was Made For Lovin’ You’ Performed by: Alain Pernot
I’d love to have these, especially Crash Kelly, but alas. The project is still awesome and worth your coins. Especially if you’re a self respecting Kiss fan. Get it.
EDIT: I now have the tracks. Crash Kelly’s is awesome! Fun and awesome.
- ‘Psycho Circus’ – Performed by: DDRIVE (Phil Naro, Don Mancuso, Dave Sessions, Jt Taylor & Bobby Bond)
- ‘Spit’ – Performed by: Ken Dubman, Jimmy Callahan, Scott Metaxas, & Mark Tornillo
- ‘Deuce’ – Performed by: Bill Leverty, Kevin Valentine, John Regan, & Russ Dwarf
- ‘Sure Know Something’ – Performed by: Chris Buck & Anthony Cardenas Montana
- ‘Detroit Rock City’ – Performed by: Ron ‘Bumblefoot’ Thal, Rex Brown & Brian Tichy
- ‘Eyes Of Love’ – Performed by: Eric Carr, Benny Doro & John Humphrey
- ‘Shout Mercy’ – Performed by: Jeff Paris, Troy Lucketta, Eric Brittingham Jeff Labar
- ‘Creatures Of The Night’ – Performed by: BRIGHTON ROCK
- ‘Larger Than Life’ – Performed by: Rex Brown, Brian Tichy & Mark Zavon
- ‘Cold Gin’ – Performed by: Don Dokken & Tommy Denander
- ‘Love Gun’ – Performed by: Tony Harnell, Mark Kendall, Scott Snyder, Sean Michael Clegg, Kevin Valentine & Tommy Denander
- ‘Little Caesar’ – Performed by: Ron Young, John Regan & Tommy Denander
- ‘Hard Luck Woman’ – Performed by: Chris VanDahl, Stacey Blades & Adam Hamilton
- ‘Outerspace’ – Original demo later covered by Ace Frehley on his Anomaly album – Performed by: SHREDMILL (David Askew, Jesus Mendez Jr, Jaime Moreno)
- ‘Goodbye’ – Performed by: IMPERIA & BOB KULICK (J.K.Impera, Matti Alfonzetti, Tommy Denander & Mats Vassfjord) – Additional Guitars by Lars Chriss
- ‘See You Tonight’ – Performed by: TODD FARHOOD & MYSTERY (Todd Farhood, Michel St-Pere, Sylvain Moineau, Jean-Sébastien Goyette, Francois Fournier & Benoit Dupuis)
- ‘Beth’ – The Grand Piano Version – Performed by: Michael Lardie
- ‘Tomorrow’ – Performed by: DRESSED TO CHILL (Matt Bradshaw, Rav Thomas & Rhys Lett)
- ‘Anything For My Baby’ – Performed by: SLAVES ON DOPE (Kevin Jardine, Jason Rockman, Seb Ducap & Peter Tzaferis)
- ‘Unholy’ – Performed by: Fred Duvall, Glenn Belcher, Mark Slaughter (Guitar Solo), Rob Zakojc & Russ Dwarf
- ‘Breakout’ – Performed by: Tod Howarth, John Regan & Kevin Valentine
- ‘Rock N Roll Hell’ – Performed by: Ron Keel, Troy Lucketta, Eric Brittingham & Jeff Labar
- ‘Nowhere To Run’ – Performed by: DRUCKFARBEN (Phil Naro, Ed Bernard, William Hare, Troy Feener & Peter Murray)
- ‘The Oath’ – Performed by: Rick Hughes, Chris Buck & Bob Richards
- ‘Master & Slave’ – Performed by: Adam Hamilton, Scott Griffin, Stacey Blades & Phil Lewis
- ‘Calling Dr.Love’ – Performed by: BURNING RAIN (Keith St John, Doug Aldrich, Sean McNabb & Matt Starr)
- ‘I Stole Your Love’ – Performed by: S.U.N. (Brian Thomas Tichy, Sass Jordan & Tommy Stewart) With Derek Sharp (Of The Guess Who)
- ‘Reason To Live’ – Performed by: Johnnie Dee & Derry Grehan of HONEYMOON SUITE with Michael Foster & Bill Leverty of FIREHOUSE
- ‘Hard Luck Woman’ – Performed by: Fred Duvall, Glenn Belcher, Rob Zakojc & Russ Dwarf
- ‘Forever’ – Performed by: Terry Ilous, Sean Kelly With Jeff Paris.
- ‘Sword And Stone’ – Taken From Bonfire Live In Wacken – Performed by: BONFIRE (Claus Lessmann, Hans Ziller, Chris Limburg, Uwe KöHler, Harry Reischmann)
- ‘God Of Thunder’ – Performed by: AMERICAN DOG (Michael Hannon, Steve Theado & Keith Pickens)
- ‘She’ – Performed by: RAZER (Chris Powers, Chris Catero, Jordan Ziff, Paul Sullivan, Eric Bongiorno & Chuck Alkazian)
- ‘New York Groove’ – Performed by: SLAVES ON DOPE (Kevin Jardine, Jason Rockman, , Elizabeth Lopez & Peter Tzaferis With Marty O’Brien)
- ‘Magic Touch’ – Performed by: Jim Crean, Phil Naro, Vinny Appice, Steve Major & Stan Miczek
- ‘Tears Are Falling’ – Performed by: Willie Basse, Bruce Bouillet, Scott Warren & Mike Hansen.
- ‘Rock N Roll All Nite’ – Performed by: Harley Fine, John Regan & Atom Fellows
- ‘Shandi’ – Performed by: Dani Luv, Scott Griffin & Matt Starr
- ‘Beth – Bonus Track’ – Performed by: Chris Vandahl & Scott Griffin.
- ‘Beth – Bonus Track’ – Performed by: Phil Naro, William Hare & Ed Bernard
- ‘No, I’m Not Afraid’ (Previously Unreleased Peter Criss Band Demo from 1991) – Performed by Peter Criss and Phil Naro
- ‘Wait For A Minute To Rock N’ Roll’ (Previously Unreleased Peter Criss Band Demo from 1991) – Performed by Peter Criss and Phil Naro
- ‘Back On The Streets’ (2013 Mix originally from Return of the Comet) – Performed by Richie Scarlet, John Regan, Tod Howarth, Arthur Stead & Steve Werner (The Comet Band)
- ‘Only You’ (2013 Recording) – Performed by DORO
- ‘God Gave Rock N Roll To You II’ – Performed by Russ Dwarf
- ‘I’m An Animal’ (2013 Mix originally from Return of the Comet) – Performed by the Comet Band
- ‘Let Me Go Rock N’ Roll’ – Performed by The Oddfathers
- ‘Surrender In The Name Of Love’ (Written by Peter Criss & Phil Naro) – Performed by 24K featuring Phil Naro and Mladen Alexander
- ‘Love Gun’ (Tommy Denander Guitar Solo Mix) – Performed by Tony Harnell, Kevin Valentine and Tommy Denander
- ‘Larger Than Life’ (2013 Remaster – Robot Lords Of Tokyo version) – Performed by Robot Lords Of Tokyo
- ‘Cold Gin’ (2013 Remaster from L.A. GUNS’ 1998 Wasted EP) – Performed by L.A. Guns
DOKKEN – Back For the Attack (1987)
Dokken have never surpassed Back For The Attack, although they certainly have tried hard. This album is the pinnacle of Dokken. (No laughing!) No ballads! “Heaven Sent” is as close as we get. 13 songs, one being a George Lynch instrumental (pure smoke!), this album is packed full of great tunes and performances. Think about that — 13 songs, in 1987. That was overachieving, big time. Overkill!
One could argue that you only need one Dokken album proper, and I would argue that it’s Back For The Attack. Never had the band been so heavy or focused. Turns out they were falling apart at the seams, but at the time they were “Burning Like A Flame” up the charts indeed.
It’s a heavy regal hard rock sound, with oodles of smokin’ Furious George guitar as only he can play it. Not to be outdone are Jeff Pilson on bass and backing vocals (the vocals being a critical component of early Dokken) and “Wild” Mick Brown destroying his kit, cymbal by cymbal!
The heavy angry groove of “Kiss Of Death”, Don at his screaming (!) best
“Burning Like A Flame”, the melodic but not-wimpy single
“Mr. Scary”, George’s ferocious solo piece
and of course the hit single “Dream Warriors” which everybody knows.
Even the cover art is the classiest thing this band has done, and totally representative of the music inside.
5/5 stars! ( I only wish the track “Back For the Attack” was included! Get it on the “Dream Warriors” single instead.)
- “Kiss of Death”
- “Night by Night”
- “Standing in the Shadows”
- “Heaven Sent”
- “Mr. Scary”
- “So Many Tears”
- “Burning Like a Flame”
- “Lost Behind the Wall”
- “Stop Fighting Love”
- “Cry of the Gypsy”
- “Sleepless Night”
- “Dream Warriors”
HEAR N’ AID – Stars (1986 LP, Japanese CD)
It is hard to believe that this monumental album, a piece of rock history, was only issued on CD in Japan! Finding a domestic LP or cassette isn’t hard (I’ve owned it on all three formats including CD) so hunt your record shops. I know Wendy Dio has a CD/DVD reissue lined up, hopefully including the full album, single edit, and the video and interviews. If you’re reading this Wendy…
At the time, all funds went to starving people in Africa, hence the name Hear N’ Aid. The inspiration was something fairly obvious: No heavy metal people outside of Geddy Lee was involved in the numerous famine relief projects of the time! (Geddy sang a lead on the excellent “Tears Are Not Enough” (1985) by Northern Lights, but nobody metal could be seen in “Do They Know It’s Christmas” or “We Are the World”.)
“Oh, you knoooow that we’ll be there!”
Showing the world that heavy metal bands and fans aren’t a bunch of assholes, Jimmy Bain and Vivian Campbell of Dio came up with the concept for Hear N’ Aid.
The main track, “Stars”, by Hear N’ Aid is a tour-de-force. Written by Bain, Campbell and Dio, this is essentially an epic extended track with a soft intro and heavy verses, and tons of guests. They assembled virtually every major metal singer who was willing and available to take part. That means you will hear Quiet Riot singers Kevin DuBrow and Paul Shortino (still with Ruff Cutt at the time) singing together for the first and only time in history! Rob Halford, Don Dokken, Eric Bloom, Geoff Tate, Dave Meniketti, and Dio himself all take lead vocal slots too.
When the guitar solo kicks in, prepared to be blown away. With Iron Maiden guitarists Dave Murray and Adrian Smith playing backing harmonies, you will hear the monstrous talents of George Lynch, Yngwie Malmsteen, Vivian Campbell, Craig Goldy, Neal Schon, Buck Dharma, Carloz Cavazo, Brad Gillis and Eddie Ojeda all taking a few bars. No charity track had ever attempted to assemble not just singers, but guitar players, on one track before.
All this is backed by drummers, bassists and keyboard players from Dio and Quiet Riot. There are more backing singers than I can name, but most notably, Derek Smalls and David St. Hubbins from Spinal Tap. Of course.
The rest of the album is filled out by songs donated by bands who couldn’t take part in the song, but still wanted to help the starvation situation in Africa. Therefore you will get a live “Heaven’s On Fire” from Kiss, from their Animalize Live Uncensored home video. This is the only place that the audio track was released on. There is an unreleased live “Distant Early Warning” by Rush, and rare ones by Scorpions and Accept as well.
1.Hear ‘n Aid – “Stars”
2.Accept – “Up to the Limit” (live)
3.Motörhead – “On the Road” (live)
4.Rush – “Distant Early Warning” (live)
5.Kiss – “Heaven’s on Fire” (live)
6.Jimi Hendrix – “Can You See Me”
7.Dio – “Hungry for Heaven” (live)
8.Y&T – “Go for the Throat”
9.Scorpions – “The Zoo” (live)
You think you’d remember something like losing a tooth at work.
So it was weird one day, when while cleaning the store, I found an old rotten tooth behind the counter! Like, way behind the counter, like where the dust bunnies multiply at the edge of carpeting and corner.
I didn’t know it was a tooth when I picked it up. I thought it was a stone. I picked it up and turned it over and half of it was black and/or missing and it was obviously a molar. But where the fuck did it come from? I was perplexed! This is the store that I opened, have always helmed, I knew everybody that worked here, ever. Where the fuck did this tooth come from?
I mean, we were a CD store! It’s pretty straightforward. Lots of discs, lots of cases, lots of paper sleeves. Not a lot of teeth.
Today, I can only really see one plausible scenario. Since we bought and sold discs, when we bought ’em, they often came in big boxes or bags that have obviously been sitting around.
So, imagine this: Scuzzy crackhead man or woman walks in with a big brown cardboard box full of shitty scratched up Steve Miller discs. In the bottom of the box, God knows how, but in the bottom there’s an old rotten tooth. When the staff get the boxes in, they often temporarily stash them behind the counter, right up against the wall where the dust bunnies roam. Tooth gets dislodged, only to be found on the next thorough cleaning…
That’s just my theory. You’re welcome to come up with your own. Bottom line though, how the fuck does an old rotten tooth end up in the carpeting of a CD store? That’s the biggest mystery I ever encountered.
The answer now is probably lost to the sands of time. Like the tooth. Which I threw in the trash seconds later!