I don’t know how this is supposed to work. Do you have to watch an animated series in order to “get” Post-Apocalypto? I’m not doing that. I’m listening to an album; I’m reviewing an album.
21 tracks, half an hour. Most of the tracks run a minute and a half. So what’s the concept? Humanity has destroyed the Earth in a nuclear holocaust. Tenacious D survived, though their songwriting abilities did not. Richard Branson, Elon Musk and Yo-Yo Ma have been saved, and now live on a space station. Kyle Gass wasn’t good enough to make the cut and now has a two-headed dog named Hope to keep him company. Unfortunately the KKK seems to have taken over security on what’s left of Earth.
Post-Apocalypto is part uninspired sketches, part uninspired songs. Some are decent, or half-decent, like “Take Us Into Space” and “Woman Time”. Most are too soft, light and forgettable, and the sketches are tired. Jack Black’s “Arnold” accent isn’t bad, but the joke wears out.
Bottom line: as stated by Uncle Meat, “18 minutes of music isn’t an album.” Iron Tom adds, “Although I’ll listen to some tunes individually, I don’t see myself listening to it again as an entire album.”
THE DARKNESS – Easter is Cancelled(2019 Canary Dwarf, Japanese release)
I’m baffled. I’m truly baffled this time, and I’ve followed The Darkness through thick and thin! From brightest days to darkest nights. From Stone Gods to Hot Leg. And for the first time, The Darkness have thrown me for a loop.
Easter is Cancelled sounds like their rock opera, their big concept album, with gentle acoustics turning into loud bombast. It looks brilliant on paper, but in practice it sounds more like Tenacious D. That’s it — this isn’t a Darkness album. This is what the D should have released instead of whatever Post-Apocalypto was.
Where I used to shout with glee as one gleaming riff gave way to another and then another, now I hear only fragments. Only portions of great tunes, not completely brilliant tracks front to back. The top track is actually one of the bonus songs, called “Different Eyes”. The guitar work on Easter Is Cancelled is consistently stunning, at least.
This review has been painfully hard to write. I take no pleasure in this. It took months of agonising to get here. I don’t want to hate The Darkness. I want to embrace them — all four of them! — with open arms and heart. Perhaps one day, I will again. With all due apologies to Justin, Dan, Frankie and Rufus, this one wasn’t for me.
2/5 stars
I would be neglecting my rock and roll duty if I didn’t report on the Japanese bonus track, “Dancing House”. It’s only a minute long and it’s…umm…about people dropping in for a party. It sounds like bad B-52’s. Really bad B-52’s. I cannot discern its purpose or reason to exist.
For a few albums starting with their fourth record Disillusion, Loudness began recording English lyrics for outside Japan. For the Japanese versions, the lyrics are a mixture of both languages with the choruses usually sung in English. Whichever version you hear, Disillusion will satisfy your craving for memorable heavy riffs, brilliant vocals, and incredible guitar shredding.
Guitarist Akira Takasaki was considered the Japanese Eddie Van Halen and you can hear why on Disillusion. Though Loudness are heavier than Van Halen, Takasaki employs techniques similar to King Edward. Disillusion opens with the thunderous “Crazy Doctor”, on which you can hear the Van Halen chords loud and clear, though the track sounds more like heavier vintage Dokken. As outstanding as Akira is, also unmistakable is singer Minoru Niihara. The original Loudness frontman could really sing with all the necessary panache and metal inflection.
The opening guitar shreddery on the speed metal “Esper” recalls St. Edward once again, but Loudness could have given Metallica a run for their money on this one. Completely over the top! A number of fans think that Loudness softened their sound when they released their American major label debut Thunder in the East in ’85. You can understand why they think that when you hear “Esper”. However this is a balanced album, and the more melodic “Butterfly” slows things down so you can catch your breath. Unfortunately “Butterfly” is the closest thing to a mistep on this otherwise brilliant disc.
There’s a Maiden-y vibe to “Revelation” circa Piece of Mind, but not just because of the name. I wouldn’t be surprised to learn that Loudness were influenced by Maiden. We do know that both Loudness and Maiden were influenced by Deep Purple so there might be some convergent evolution going on.
The parallels to Sir Edward continue on side two with an instrumental called “Erupt…” err, sorry, it’s called “Exploder”. Whatever the similarities, Takasaki is an enticing guitar player and he came to public attention exactly when this kind of playing was most popular. “Exploder” blows away most of the competition. Only a handful of players could do stuff like this and they usually had names like “Rhoads” and “Halen”.
Vocals return on “Dream Fantasy”, another blazing hot metal extravaganza, with solid chorus intact. It’s worth noting that Takasaki was not alone in musical excellence. Drummer Munetaka Higuchi (R.I.P.) was a heavy-hitter who could thrash it up and come up with interesting fills. Masayoshi Yamashita has a knack for a busy, melodic bassline, though mostly holds down the fort so Akira can fly.
“Milky Way” boasts a cool, smoother style of riff and another exemplary Minoru Niihara chorus. It’s a challenging arrangement with different rhythms and textures. Loudness were not simply banging out metal riffs for your rock and roll crazy nights. They were stretching the boundaries of their abilities, playing intelligent metal like the Scorpions and Priest did in the 70s. But they also weren’t afraid of getting down n’ dirty, as they do on “Satisfaction Guaranteed”. Though you can’t tell without the lyric sheet, it’s the only song that is completely sung in English. It’s not the lyrics, but the riff that will hook you. Note the passing Maiden-esque gallop.
This version of Disillusion concludes with an epic “Ares’ Lament”. It’s a cross between early Maiden and Scorpions with a touch of darkness, with a long shadowy outro reminiscent of “Child in Time”. It’s a brilliant end to a pretty stunning album.
Disillusion is not immediate, except for “Crazy Doctor” which will hook you at first listen. It’s a busy record, so you need to give it a couple proper listens to let the riffs and hooks come to the fore. Once they do, you will uncover many elements of pleasure in the grooves within. It sounds uncompromised and is more unique than the albums that followed. It’s a fine example of metal forged in integrity.
It’s impossible to acquire a “complete” Bon Jovi collection; trust me on this. Even Jon Bon Jovi doesn’t have a complete Bon Jovi collection. Up to a certain point in time, it’s fun to collect as many B-sides and bonus tracks you can get your hands on.
The second single from “best of” album Cross Road (1994) was “Someday I’ll Be Saturday Night”, and it was a pretty clear indication of where the band would go on their next album These Days. But — surprise bonus — this single doesn’t have the studio version (that you already own) from Cross Road. It has an uncredited live version instead! Added bonus — Alec John Such on bass. He had yet to be replaced (on stage, anyway) by Hugh McDonald. This is probably the only live version of the hit with Such on bass.
Make no mistake, “Someday I’ll Be Saturday Night” is a great song. There’s a Bon Jovi niche for acoustic rock songs with down-on-your-luck/inspirational lyrics. “My life’s a bargain basement, all the good shit’s gone.” This is Jon’s bread and butter. He wouldn’t know a bargain basement if he was shopping for old Bon Jovi singles in one, but he does this kind of rock really well. This is one of the last of his must-haves of the genre.
Another rare one, “Good Guys Don’t Always Wear White”, is a studio track with the well-worn cowboy motif. It’s from the movie The Cowboy Way featuring Jon’s old Young Guns buddy Keifer Sutherland. Unexpectedly, this one is an intricate hard-driving rocker, with a Sambora riff that he could take pride in. Tico Torres is absolutely on fire on the kit. That guy can lay down a groove while throwing in challenging patterns just for fun. Why can’t Bon Jovi rock like this anymore? This track feels more honest than the hard luck songs.
Two more live songs finish the CD. These two are from Montreal in ’94: “With A Little Help From My Friends” (Joe Cocker style) and “Always”. The reason Bon Jovi can get away with “A Little Help From My Friends” is Richie Sambora, who always brings the soul and the integrity. That’s not to say that Jon sucks. Check out the note he holds at 3:57. The man had lungs back in 1994! The demographics of the audience are obvious: “Always” is almost drowned out by a sea of high-pitched screams! It’s one of their last ballads that really deserves that kind of cheering though.
A great single is one that you can list to independently of the album, and doesn’t sound like a bunch of miscellaneous bonus tracks. This single is like that. There’s no wasted space, no filler, and no tracks you can get on the albums. The live stuff is high grade and the studio track is extremely valuable for its hard rocking nature. This is more like an EP than a single, but it’s all semantics. Let’s just call it:
4.5/5 stars
You say you don’t like my kind, A bitter picture in your mind. No, it don’t matter what I say, I hear you bitchin’ when I walk away. I’ll never be what you want me to be, You tell me I’m wrong but I disagree, I ain’t go no apology. Just because I don’t look like you, talk like you, think like you, Judge and jury, a hangman’s noose, I see them in your eyes.
BON JOVI – Bounce (2002 Universal, 2010 special edition)
Wrote off Bon Jovi after Keep the Faith? Not so fast!
It was a post-911 world, which in strange hindsight was a more optimistic time than today. Bon Jovi, always patriotic, had to respond. While only a few songs relate to the tragedy, Bounce is easily the strongest Bon Jovi platter from the last 20 years.
That was my brother lost in the rubble, That was my sister lost in the crush, That was our mothers, those were our children, That was our fathers, that was each one of us.
“Undivided” makes no bones about its subject. It’s also one of the heaviest songs the band have ever laid down. Much of this, according to the band, came down to a new guitar that Richie Sambora was using. His tone is certainly aggressive and modern.
“Where we once were divided, now we stand united.”
If only temporarily. It was certainly more inspiring in its time. At least nothing can be taken away from the music, and Sambora’s always sublime soloing.
Lead single “Everyday” is less successful, leaning on modern production values instead of rock and roll. At least it rocks hard and chunky for the most part. The samples and effects could have been ejected without hurting the song. But Bon Jovi’s biggest weakness after Keep the Faith was a dependence on ballads. At least most of the Bounce ballads stand strong. The first of these is one of the strongest, “The Distance”. It utilizes Sambora’s crushing guitar effectively to create a rock/ballad hybrid. You can headbang to the riff while crooning to the verses. It’s topped with strings courtesy of David Campbell, making the whole thing so overblown…and so Bon Jovi. That’s their style. You either like it or you don’t.
“Joey” is less successful as a ballad. It’s one of those “growing up in New Jersey” songs that Jon is good at writing. “Blood on Blood” is the best example of that kind of song. “Joey”, not so much. The arrangement is generic and the words, well: “I never cared that Joey Keys was slow, he couldn’t read or write too well but we’d talk all night long.” I’m sure there are more lyrical ways of telling this story.
Midtempo “Misunderstood” is an album highlight (and second single). The chorus is the selling point. Vintage Bon Jovi melody and charisma. Unfortunately single #3, “All About Loving You” is profoundly putrid, with drum machines and tinkling acoustic guitars aplenty. A heavy rocker called “Hook Me Up” is also less than inspiring, although you can at least rock heavy to it in dumb fashion.
A pleasant ballad, “Right Side of Wrong” is similar to “Joey” but without the awkward lyrics. What does it sound like? Bon Jovi, with all the references he loves: James Cagney, Butch Cassidy and the Sundance Kid. Next, Sambora’s wah-wah guitar on “Love Me Back to Life” brings some heavy to another ballad, which is good, because there are three in a row. It’s all about Sambora and the strings by David Campbell, which add some needed punch.
Most of the ballads to this point have featured piano with strings, but “You Had My From Hello” is a sweet acoustic number. Pleasant is the word. But the second last track “Bounce” is an ass-kicker and best track on the album. “Call it karma, call it luck, me I just don’t give a f…f…f…” OK, that sounds pretty cheesey. Jon refusing to drop the F-bomb is funny when you think about it, but “Bounce” was a single, so it’s not like he’s going to swear all over it. Richie’s solo is 2000s-era perfect, as good as mainstream music got back then. “Bounce” rocks. Unfortunately the album concludes on another cookie-cutter ballad, “Open All Night”. It was written about an Ally McBeal episode that Jon guested in. Hard pass.
The 2010 special edition includes a cool backstage pass and four live bonus tracks: “The Distance”, “Joey”, “Hook Me Up” and “Bounce”. The added value makes the upgrade worthwhile.
This album “bounces” back between rockers and ballads a bit much, but when the songs are solid, it fires on all cylinders. Let’s say you trimmed two songs from the album to make it an even 10, like Slippery When Wet. Then Bounce would be a more consistent listen, and perhaps considered a bit of a latter day classic. It’s still probably the last “good” album they’ve released.
The first great album of 2020 is upon us. Brighton Rock guitarist extraordinaire Greg Fraser has returned to the recording studio and emerged with Storm Force, a hot new band born out of the roots of the 80s.
I am hesitant to do a full-on “review” of Storm Force just yet. Why? It’s simple really. Some albums sound as if purposesly concocted for certain environments. I sense that Storm Force is going to sound bloody perfect this summer in the car with the windows down. In fact, I cannot wait to do it that way. I think this album demands it. Just like certain hard rock classics of the past just sound better on a warm afternoon on the highway.
Though the band has no weak links, it’s important to single out the strength of vocalist Patrick Gagliardi. His power and range is reminiscent of singers such as Jack Russell and Axl Rose. There’s grit, soul and there are vocal acrobatics aplenty. Whether he’s singing a ballad or screaming a road-burner, Patrick is on point!
It cannot go unsaid that Greg Fraser has pulled some killer riffs out of the bag. These are classic hard rock riffs, and would have been at home on any Brighton Rock record from 1987-1991. Not to mention his lead work is still fantastic. Frase has a recognizable style and you can hear it on Age of Fear.
You won’t find a weak track inside, and they run the entire range that a hard rock album should. Closer “Ringside” is burning hot metal, but “Marshall Law” has a vibe akin to Lizzy’s “Jailbreak”. For a commercial “rock single”, check out “Because of You” which pushes all the buttons. “Different Roads” features piano like a classic Aeroballad from 1987. Hard to pick a favourite among these great tunes.
Forget Valentine’s Day…except when it’s good for traffic! Back in my single days I used to call it “Bon Jovi Day” and listen to nothing but Jon & Richie. Here’s some Bon Jovi for you!
BON JOVI – “Real Life” (1999 Reprise & promo CD singles)
There was an unprecedented five year interregnum between These Days and Crush. This pause allowed Jon Bon Jovi and Richie Sambora to get some solo albums out of their systems before the band re-convened. In the buildup to the new album, Bon Jovi contributed a new single called “Real Life” to the movie EdTV. Remember EdTV? There were two movies out at the same time about a guy who had his whole life broadcast on television 24/7. One, The Truman Show starring Jim Carrey, was a huge hit. The other, Ron Howard’s EdTV starring Matthew McConaughey, was the also-ran. EdTV might have been more interesting, but bombed. This rendered the Bon Jovi single relatively obscure. It’s not the first time a Bon Jovi movie track misfired. Remember “Good Guys Don’t Always Wear White”?
“Real Life” was a decent tune, but it was a ballad at a time when Bon Jovi already had plenty. There’s little to draw your attention, aside from Richie Sambora’s always alluring guitar and vocals. The watery guitar tone is not far removed from These Days, but that album boasted the kind of ballads you’d never forget. Songs like “Something to Believe In”, “These Days”, and “(It’s Hard) Letting You Go” are the kind of songs you carry your whole life. “Real Life” is not. In the wake of These Days, it was just another ballad.
Who is “Desmond Childs“?
This commercial single has two versions of “Real Life”, but there are actually four versions out there! For the “album version”, if you don’t want the EdTV soundtrack, look for a promo single instead. The differences between the album version and the radio mix are slight, but the album version has more guitar where the single mix has more piano. The third version is an instrumental mix, which is nice if you want to listen to Richie’s guitar a little more. The fourth and final version is an alternate mix that can be found on the box set 100,000,000 Bon Jovi Fans Can’t Be Wrong.
Finally, a live recording of “Keep the Faith” rounds out the single. It seems to be a standby live B-side for this band. They used another version on the 2013 single for “Because We Can“. It’s certainly one of their most accomplished songs. The bass groove and Tico’s busy drum patterns keep your feet moving. It’s noncommercial and it strives to be something bigger. It might be, in a technical sense, Bon Jovi’s most unapologetic and best hit.
Interestingly enough, “Real Life” is the only Bon Jovi video without David Bryan who was away on an injury. I don’t think he missed out on much.
“I was the one who talked about the other man, I thought he was my friend but you had other plans!” – Loudness
GETTING MORE TALE #815: Let It Go
The first time I saw Loudness on the Pepsi Power Hour, I was hooked. I can remember being fascinated by Japanese culture for a long time, but Loudness made it deeper, because now I had Japanese heavy metal to be interested in.
“Rock and roll Crazy Nights!” sang the quartet. “You are the hero, tonight!” Sounded cool to me. I was 13.
Minoru Niihara on MuchMusic, 1986
The Power Hour didn’t play a lot of Loudness, just two songs. “Crazy Nights” was the first, but by 1986 the band were becoming more Americanized. “Let It Go”, the only other video they played, was a real attempt to crack the US market. I was an instant fan. Contrived or not, “Let It Go” is one of the ultimate 80s rock anthems.
Some brief Loudness history is in order. Akira Takasaki, lead guitar, is the Eddie Van Halen of Loudness. He formed the band and is the only member to play on all the albums. He and drummer Munetaka Higuchi came from an earlier band called Lazy, named after the Deep Purple single. Lazy was far more pop rock and Takasaki, a true virtuoso, was dissatisfied. Metal was growing in Japan. Soon Masayoshi Yamashita had joined on bass, and the band just needed a singer. Minoru Niihara of Earthshaker to the rescue. Within months they had a debut album: 1981’s The Birthday Eve.
The band recorded four albums in Japanese. But the fourth, Disillusion had an English version recorded as well. This led to their breakthrough Thunder in the East, released on Atco in the US. The opening track was “Crazy Nights”, which led to video play. And that’s how I came on board.
“M-Z-A!”
“You, come to see the show, well we’re gonna rock and roll you!” I never ask too much lyrically of any band whose second language is English. Still, “Crazy Nights” was about as good as the American rock of the 80s. Niihara’s accent is thick but this only adds to the appeal. The music, compared to their earlier Japanese albums, is toned down, more mainstream. But it’s still clearly heavy metal. The emphasis is on the riff.
Also important is the image. Despite the cultural differences, Loudness still looked cool to American audiences. When everybody else (cough cough Iron Maiden) were wearing rising sun T-shirts, these guys were actually from the rising sun! Their stage moves also translated perfectly. And check out Takasaki’s metal-plated guitar. He understood the kind of visual flash that he needed. His outfit matched, but Vince Neil was not amused. When Loudness opened for the Crue, Takasaki was ordered to wear a different top. His was too similar to Shout-era Motley.
But what’s with that strange chant, “M-Z-A”? According to Niihara, he didn’t have lyrics in place for that section, and on the guide vocal just sang random sounds, “M-Z-A”. It made the album, and puzzled fans the world over!
Like Thunder in the East, the followup album Lightning Strikes was produced by Max Norman. Under Norman, the band recorded “Let It Go”, their most commercial song yet and one that will stick with me for life.
In 1986 I had mono, and I was housebound for weeks and weeks on end, except for doctor’s appointments. I sat in the basement recording MuchMusic videos, and “Let It Go” was early in that batch. To me, Loudness had never looked or sounded cooler. I thought Niihara was really slick in that suit jacket. The image was clearly toned down to “hard rock” from “heavy metal”, but the new casual-looking Loudness also appeared more natural. The video even showed the construction of a guitar (Takasaki’s), the likes of which I had never seen before. When I was well enough, Bob came over and watched all the videos I taped. He loved “Let It Go” too.
“It’s Godzilla!”
I continued to love the song into adulthood, partly because of the lyrics. They were almost autobiographical!
I was the one who talked about the other man, I thought he was my friend, but you had other plans, I just can’t take that chance, There ain’t no looking back, Just a victim of circumstance, I helped you fall in love so, Let It Go!
That happened to me! I did tell her about the other man. They totally would not have met if it wasn’t for me. Fuckin’ hell! Niihara knew my pain before I even did! What about the rest of the words?
Driving to the top of the city, Drive until I reach the view, Where we used to try and see, Our dream come true.
There was this one location where you could park the car and just look down at the city. I did this sometimes when I was feeling romantic, or alone and feeling down.
Stop the car, light a cigarette, Fill the air with the radio, And there’s nothing I can do, But think of you.
I never smoked a cigarette in my life; I wish I could just delete that line! Otherwise, everything so far is bang on.
When I dial your telephone number, It’s like you’re never home, But I know it isn’t true, What’s he doing with you?
Oh man. So many times. So many times.
They almost could have called this “The Love Life of Young Mike”! That’s one way a song you like can stick with you for life. Today I just really like the music. “Let It Go” has all the right stuff. Brilliant riff, great verses and chorus, and a well-composed melodic guitar solo. It’s literally the perfect hard rock song.
Loudness with Mike Vescera
What happened next to Loudness? They made one more album with Niihara called Hurricane Eyes, with Eddie Kramer producing. It failed to have an impact, and Takasaki was convinced to hire on an American vocalist. It seemed to be the only option, to grab that brass ring of success. After one more EP (Jealousy, released only in Japan), Minoru Niihara was let go. He was replaced by Obsession’s Mike Vescera for two albums. “You Shook Me” from 1989’s Soldier of Fortune gained some video play. Ultimately though, Mike had to make a go of it with Yngwie Malmsteen, with whom he recorded the excellent Seventh Sign album.
Like many metal bands, in the 90s Loudness faced an identity crisis. Bassist Yamashita departed, and Mike Vescera was replaced by former E-Z-O lead singer Masaki Yamada. E-Z-O had two US-released albums, and some name recognition due to a Gene Simmons produced record. Releasing albums in Japan, Loudness carried on after original drummer Munetaka Huguchi departed as well. The band experimented musically and lyrically, with Eastern and nu-metal influences, like the song “Dogshit” from 1998’s Dragon.
Loudness with Masaki Yamada
Takasaki kept Loudness going while also taking care of a very busy solo career. Through the 1990s, Loudness made five albums with Yamada singing, all released only in Japan.
Ultimately, though Yamada was an ideal replacement, he could never be the original. He suggested that Loudness reunite their classic lineup for their 20th anniversary, and so it happened. Akira Takasaki, Minoru Niihara, Masayoshi Yamashita and Munetaka Higuchi reformed the classic lineup, and proved it was not just a one-off. They continued to crank out new albums starting with 2001’s Spiritual Canoe, losing no momentum. The reunion seemed built to last, until Higuchi sadly succumbed to liver cancer in 2008. The beloved drummer was replaced by Masayuki Suzuki the following year and Loudness carried on again.
It’s an inspiring tale of perseverance, talent, and determination.
Strangely enough I have only now bought my first Loudness album. They no longer have a huge presence here and their CDs are very hard to find. Lightning Strikes seemed the right one to go with. It’s enjoyable. Everybody knows that Takasaki is frighteningly good, but really the whole band is. Quite a lot of fun, to hear a classic 80s metal album so long after it came out. It’s a trip. And I’m glad Loudness never “Let It Go”, and kept going on despite all the changes. Time to get Thunder in the East next. I love it Loud…ness.
“Let It Go” with friends at the memorial concert for Munetaka Higuchi
DIO – Live In London – Hammersmith Apollo 1993 (2014 Eagle)
The only good thing that came from Ronnie Dio’s death is the number of reissues and live albums we’ve gotten since. One of the more overlooked eras of Dio was the “Tracy G” era, Strange Highways and Angry Machines. Dio had just reunited in the middle of the grunge movement. Tracy G (ex-WWIII) was not to everybody’s taste. While he could indeed shred, he also utilized shrill noise and harmonics in his guitar work which isn’t everybody’s cup of tea. He could, however, lend Dio a heavier edge necessary in 1993. Add in bassist Jeff Pilson from Dokken and veteran drummer Vinnie Appice and you have one hell of a lineup.
Dio assembled a setlist with his best material, but ignoring a couple albums. Lock Up the Wolves and Dream Evil were considered disappointments when they were new. Even Sacred Heart is skipped over on this live album, in favour of old classics and a healthy serving of new songs. Sabbath and Rainbow only get a song a piece.
The sound is bloody perfect, as if they meant to release a double live album all along. Having Pilson on bass lends a heavy, low grumble and immaculate backing vocals. Tracy G might be an acquired taste on guitar but there’s no question he could do the job. He gets an extended solo on “Pain” that displays shredding, noise and musicality. Vinnie Appice gets a long solo too, as part of a “Heaven and Hell” / “Man on the Silver Mountain” medley. Eventually the band returns and they pound out a machine gun riff with monstrous Pilson bass licks. Incidentally, it’s Jeff Pilson that captures that old Black Sabbath/Geezer Butler groove better than any other bassist Dio has had.
This is a phenomenal live album. Sure, you can buy live Dio with better known lineups and songs. You can get live stuff with Vivian Campbell or Craig Goldy. This setlist is considerably different from those, and the sound is heavy as hell!
The Goo Goo Dolls were made for the 90s. When the big bands dropped off the charts, where were we to get our fix of melodic rock with acoustic ballads? From Buffalo, NY. The sixth Goos album, Dizzy Up the Girl, was the latest in a stream of albums that got progressively less punk and more acoustic. It was also their first album with critically acclaimed new drummer Mike Malinin, and the first since they had a huge single in “Name”. It’s no surprise they went further in that direction.
Commercial intents aside, Dizzy Up the Girl is a remarkable album. Every song helmed by singer/guitarist Johnny Rzeznik boasts an explosive chorus. The four tracks with bassist Robby Takac singing are the ones that maintain a punk aesthetic, but with a refined sense of composition.
Lead track “Dizzy” is the first of many great single-worthy choruses. In fact it was a single, though not the biggest of the bunch. That would of course be “Iris”, previously issued on the soundtrack to City of Angels. The 90s were not that much different from the 80s when it came down to it, and a power ballad is what made the Goos a household name. Better than Iris though is the single “Slide”. It charted just as high as “Iris” (#1) in the US and Canada. Unlike “Iris”, “Slide” has a driving acoustic vibe. It’s the kind of tune Extreme made their bread and butter with, like “Hole Hearted”.
Two years after “Iris”, the album was still producing singles. “Broadway” is just as good as “Slide” with more emphasis on the electric guitar. It has an earthy, down home quality. “Black Balloon”, another single, takes it back to acoustic with harmonics, and strings added by Canadian David Campbell (father of Beck). Even without the accompaniment it’s one of their biggest and best choruses.
Takac’s four tunes (“January Friend”, “Amigone”, “Full Forever”, and “Extra Pale”) are great breaks between Rzeznik’s more mainstream crooning. Robby’s rasp isn’t commercial but it’s the only real link back to their punk rock days. His songs don’t suck. “Amigone” (pronounced “Am I Gone”) sticks to the brain like chunky peanut butter.
Four of the five singles are top-loaded onto the front of the album, normally a death knell for a solid listen. Not in this case. The Goos boasted album tracks as good as their singles. “Acoustic #3” is good enough to be yet another single. “Bullet Proof”, with its driving guitar, could have been the album opener. The chorus lifts off to the atmosphere. It’s the kind of chorus you expected from the 1980s, not the 1990s. A dramatic “All Eyes On Me” could also have been a solid album opener. All they need is a closer! Nope, they got that too: “Hate This Place” winds things up nicely the way it began. “Hold on, dream away, you’re my sweet charade.”
Dizzy Up the Girl might not be up your alley, but in the 90s, choice was more limited. It was hard to find mainstream rock that didn’t suck. This one stands the test of time, with a collection of excellent guitar-based tunes that fit the mold.
TENACIOUS D – Post-Apocalypto (2018 Sony)
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