hard rock

REVIEW: W.A.S.P. – The Last Command (1985, 1997 reissue)

scan_20170110W.A.S.P. – The Last Command (1985, 1997 Snapper reissue)

With W.A.S.P.’s second album The Last Command, Blackie & cohorts made a slight move closer to the mainstream.  Blackie Lawless gave the producer’s chair to Spencer Proffer who worked magic with Quiet Riot in 1983.  There was also a new drummer.  W.A.S.P. said sayonara to Tony Richards and hit Japan with new guy Steve Riley, who today is best known for L.A. Guns.  Riley’s pasty-white demeanor fit right in with W.A.S.P.’s horror rock fantasy.  This foursome (also featuring guitarists Chris Holmes and Randy Piper) became what many refer to as the “classic” lineup.

Each side of the original LP was top-loaded:  “Wild Child” led off side one while “Blind in Texas” was used to ignite side two.  This was a calculated move, as none of the rest of the songs are as memorable as the two singles.  The strategy worked as this album doubled the sales of W.A.S.P.’s first, and those two singles had a lot to do with it.  “Wild Child” in particular was proof that W.A.S.P. could write songs and not just iron riffs.  With a bright incandescence, “Wild Child” found its way onto radio.  It’s an early example of what Blackie Lawless can do when he gets everything right.

As for “Blind in Texas”?  It was always more of a novelty, a chance for the crowd to yell along with Blackie (just listen to the live B-side version on the Headless Children CD).  A cute ZZ Top cameo in the music video didn’t hurt their chances on the Power Hour, and even the staunchest critic must admit this is a blast of pure fun.

Delving into the deeper cuts, “Ballcrusher” is…a quaint love song, let’s say, with a metal chug and a cutting W.A.S.P. riff.  Throw on one of those shouty W.A.S.P. choruses and you pretty much know how “Ballcrusher” goes!  Wealth is celebrated on “Fistful of Diamonds” which is the blueprint for all the generic W.A.S.P. rockers to follow. Steve Riley made his songwriting debut on “Jack Action”, a cool but forgettable nocturnal chug. On side one, however you will discover one real diamond which is the slow and ominous “Widowmaker”. This one too is a blueprint, for classic W.A.S.P. prowls like “The Headless Children”.

Side two has its own pits and valleys. As a sequel to the first album’s ballad “Sleeping (In the Fire)”, “Cries in the Night” is less successful. However it does have a strangely futuristic Iron Maiden-circa-1992 vibe, as if Steve Harris nicked this song for some of his own on Fear of the Dark.  “The Last Command” is junk; limp and hookless.  Blackie plagiarized himself and not for the last time.  When Blackie goes “Running Wild in the Streets” it sounds as if he’s stealing from Quiet Riot.  Ask Spencer Proffer, but surely the similarity between the “all the way!” section and the “I want more!” part of “Scream and Shout” is not coincidence.  The point is moot as neither song is particularly amazing.  Closing The Last Command is “Sex Drive”, a “good enough” song but only just.

W.A.S.P. have been generous with their reissues and included virtually all their related B-sides on the CDs.  “Mississippi Queen” (Mountain) is actually a decent B-side cover.   You have to wonder if, in 1985, W.A.S.P. could have had a hit with “Mississippi Queen” just as Motley Crue did with “Smokin’ in the Boys’ Room”.  Then “Savage” is better than 90% of the actual album.  Why are songs like “Savage” left off albums?  Who makes the decision to release it as an obscure B-side?  The rest of the bonus tracks are all live B-sides, and all W.A.S.P. classics:  “Fuck Like a Beast”, “I Wanna Be Somebody”, “Sleeping (In the Fire)”, “Hellion” and “On Your Knees”.  Some suffer from excessive crowd noise, but it sounds like W.A.S.P. were formidable live.  Blackie should consider selling a live album made up of single B-sides like these, all in one place.

So good are the bonus tracks for The Last Command that they even alter its final score:

3/5 stars (original LP)

to

3.5/5 stars (CD reissue)

REVIEW: Extreme – Waiting for the Punchline (1995)

scan_20170114EXTREME – Waiting for the Punchline (1995 A&M)

Sometimes you just gotta laugh.  Extreme released two of their finest albums after grunge wiped the slate clean.  Extreme were the punchline, but that didn’t stop them from making a smokin’ fourth album.  In 1992 Nuno envisioned the next album as “really funky”, and there is some funk here.  However Waiting for the Punchline was much more straight ahead: stripped down, no orchestras, no rap, just guitar rock through and through.

“There Is No God” sounds like an odd title from a band as Christian as Extreme were, but Gary Cherone has always been a lyrical champion.  It’s not as simple as it appears, but the groove just lays waste.  The next track “Cynical Fuck” turns it up further.  It is pure smoke, and perfect for the decade it was written in.  “Tell Me Something I Don’t Know” takes the soft/hard approach with a loud droning Nuno riff.  It’s another brilliant song, and harder than what Extreme were doing before.  Much of Waiting for the Punchline is driven by the bass and drums.  The interesting thing about this is that drummer Paul Geary left during the making of this album, and was replaced by Mike Mangini who is now in Dream Theater.  You hear two very distinct drum styles through the CD.  Geary has a straight ahead approach, while Mangini is capable of just about anything.  His first track is the single “Hip Today” and you can hear how his beats are anything but basic.

“Hip Today” is a good tune and a good indicator of what the album sounds like: Bass, drums, guitar. Listen to how the rhythm guitar drops out when Nuno solos. Just like the first classic Van Halen. The lyrics sound bitter as Gary warns the next generation of bands that their time too will end.  Things slow down a little on “Naked”, before the side-ending instrumental “Midnight Express”.  This is a truly brilliant track, proof that Nuno’s stunning plectrum practice has paid off.   When it comes to acoustic guitar work in rock and roll band, Nuno is among the very best.  “Midnight Express” gives me callouses just thinking about it.

Dark moods commence the second side with “Leave Me Alone”, a sentiment many of us understand.  Don’t worry about me — I’m happy alone sometimes.  Nuno uses volume swells a-la Van Halen’s “Cathedral” to create a nifty riff.  Into “No Respect”, Nuno makes his guitar purr, while the rhythm section throws it into overdrive.  “Evilangelist” tackles the religion questions again, with a funky riff and cool digitized chorus.  The dark and heavy vibes give way to light shortly on “Shadow Boxing” and “Unconditionally”.   Both tracks are brilliant but different.  “Shadow Boxing” might be considered the “Hole Hearted” of this album, while “Unconditionally” leans towards “More Than Words”.  Neither are re-writes, but those are the easiest comparisons.

One final surprise is the unlisted bonus track.  It wasn’t on the cassette version, but you will find the title track “Waiting for the Punchline” after “Unconditionally”.  There are two cool things about this.  One: it’s an awesome track, much like the angrier stuff on side one.  Two: it closes the album even better than “Unconditionally”.  Great little surprise so don’t hit “stop”!

The thing about Waiting for the Punchline is that it’s a grower.   The first couple listens, I thought “It’s not as good as their old stuff, but what is these days?”  The new stripped down Extreme didn’t seem as interesting as the lavish one from Extreme III or the flashy one from Extreme II.  After a few listens, different textures began to emerge, add their own colours and depth.  Particular with the guitar work, but also the rhythms, there is much delight to be discovered here.

5/5 stars

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REVIEW: Extreme – Running Gag (Japanese EP)

scan_20170112EXTREME – Running Gag (1995 A&M Japan)

You’ve read it here before, and we’ll repeat it again:  Japan gets the best stuff!

While the UK got the regular CD single for the song “Unconditionally” (four tracks), Japan called it the Running Gag EP and added a fifth track.  Due to various chart regulations in the UK, singles had to have four or less tracks to qualify.  Meanwhile, Japan seems to love releasing exclusive EPs and Running Gag is one such exclusive that Extreme fans will want to hunt down.

Extreme’s fourth album, 1995’s Waiting for the Punchline, was as much a treat as the prior albums.  It was as different from them as they are from each other.  This time, they went raw and stripped down.  You can usually hear only one guitar track at a time.  “Unconditionally” was the closing ballad, a fantastic song presented here as an edited remix.  Mike Mangini was added on drums, and you can hear slight differences from the album track.  Had the year been 1991, they would have had another hit on their hands.  Fans who know the song will recognize it for its heart and charm.

Three live songs with Mike Mangini on drums are the real treat of the set.  (He gets a chance or two to really smoke.)  “Am I Ever Gonna Change” from Extreme III is the middle part of their side-long epic “Everything Under the Sun”.  It worked well enough as a standalone song to be released as a promo single, and to be played live.  For the live situation, Nuno souped up his guitar solo.  Without the backing orchestra the album version has, it’s a very different sound.  Such is the danger of recording an album that is difficult to reproduce live.

The two tracks from Waiting for the Punchline sound more at home on stage.  “Tell Me Something I Don’t Know” (the Japanese exclusive) and “Naked” have a mean, catchy vibe.  Extreme were one of very few hard rock bands that adapted their sound well to the grunge onslaught.  These songs are not “grunge”, but they represent a step in that direction.  The songs have more bite, more bass, more groove.  The solos are sparse, though Nuno puts his foot to the gas pedal when required.  Without sounding dated Extreme simply pivoted just so into the 90s, but it sadly didn’t equal sales.

The final song is a studio ballad, “When Will it Rain” which has a vague Wings sound crossed with smooth Extreme balladeering.  It’s actually quite a great little bonus track.  Its quaint 70s qualities might not have fit in well on the original album, but hopefully you will have a chance to hear it in your travels.

Good little EP, just shy of great.

3.5/5 stars

 

REVIEW: Quiet Riot – Terrified (1993)

scan_20170102QUIET RIOT – Terrified (1993 Moonstone)

Quiet Riot took the unusual step of firing their only original member, lead singer Kevin DuBrow, in 1987.  They soldiered on with new singer Paul Shortino and did a brief tour of Japan before calling it a day for the band.  Meanwhile, Kevin DuBrow was supposed to working on a new band called Little Women.

In 1991, various media were reporting that Kevin DuBrow and Carlos Cavazo had gotten back together in 1991 as a new band called Heat.  It was a quiet reunion for the singer and guitarist who had been estranged since DuBrow’s firing in 1987.  Within two years of forming Heat, the band had morphed into a new version of Quiet Riot, now featuring former drummer Frankie Banali and newcomer Kenny Hillary (RIP).

Terrified features 3/4 of the classic Metal Health lineup with only Rudy Sarzo being absent. (He’d join again later on Alive and Well). Like a mighty ship changing course in heavy waters, Terrified is a monstrous Quiet Riot CD, anchored by Cavazo’s newly heavy guitar playing and Banali’s inimitable thunder. The drum production on this album could be the best on any Quiet Riot disc, and up there with Banali’s sound with bands such as W.A.S.P.

Lots of winners on the Terrified: “Cold Day In Hell” boasts an angry 90s groove, but with the melodic sensibilities of Metal Health-era QR. “Loaded Gun” almost sounds like a Metal Health outtake, because it has a throwback vibe. Their cover of “Itchycoo Park” is the only acoustic song, a much needed respite before re-entering the fray on the storming title track.  Only a few filler tracks (in a row) almost derail the album, but soon we’re back on track with “Rude, Crude Mood”. It may be one of the worst lyrics that DuBrow’s ever written but the music sure rocks. “Little Angel” is fast but forgettable, and before long you’re into “Resurrection”, a six-minute instrumental tour-de-force. Banali and Cavazo take the helm on it with a shuddering riff, and they don’t let go until it’s fade out. An awesome track.

Quiet Riot’s career can be divided up into a number of phases.  In the 1970s, there was the Randy Rhoads era represented by two decent Japanese albums.  This was followed by the the so-called “classic era” of major label releases (Metal Health to QR) from 1983-1988.  Then there is the reunion era which runs from Terrified to Rehab (2006) and finally Kevin Dubrow’s death in 2007.  As a coda, Frankie Banali resurrected the name with a variety of lead singers and continues to tour and record.  Their last album was 2014’s 10 featuring lead singer Jizzy Pearl.  Terrified would stand as the best album of the reunion era, which they sadly struggled to equal on later releases like Down to the Bone.

Worth the investment.

4/5 stars

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REVIEW: Joe Satriani – Shockwave Supernova (2015)

Purchased at BMV for $7.99 during Toronto Record Store Excursion 2016.

scan_20161217JOE SATRIANI – Shockwave Supernova (2015 Sony)

Like a manic version of “Puttin’ on the Ritz”, the title track from Joe Satriani’s latest Shockwave Supernova will render you mute as you pick your jaw up from the floor.  Syncopated guitars and drums unite before Joe focuses everything on the melody.  Joe’s brand of instrumental rock usually features the lead guitar in a melodic position where a lead singer would normally deliver the hooks.  That’s Joe’s job and he has done it consistently well.

New age-y guitar twinkles highlight the ballad “Lost in a Memory”, which pulses with understated rhythms.  It is only appropriate that this spacey music was recorded at Skywalker Sound.  What atmosphere and what power.  Things take a turn down Weird Street on “Crazy Joey”, a showcase for sounds you didn’t know a guitar could make, but still with a cool melody to remember.  Unbelievable accuracy and dexterity here.  “In My Pocket” brings back Joe’s bluesy harmonica work (often overlooked) with a stripped basic track.  Then we fly “On Peregrine Wings”, but the song itself is heavy as granite.  An unorthodox guitar hook reminds us that Joe isn’t a typical songwriter or player.  Thunder returns on “Cataclysmic” which moves along with the grace of a herd of rhinos.

Joe hops in his Tardis for a trip back in time to the early 60s on “San Francisco Blue”, but of course with his own space age sound.  He just has to “Keep On Movin'”, but it’s still a surprise when the piano shares the spotlight.  There is no shortage of string majesty, but the piano is a nice touch.  Things cool down on “All of My Life”, a gentle song with breezy congas and unexpected twists.  “A Phase I’m Going Through”, track 10, is the point at which the listener begins to get a little bit of ear fatigue.  15 songs might be normal for a Joe album, but 10 songs might be the ideal length for the average listener.

Take a break if you have to because there are still great moments ahead.  “Scarborough Stomp” is an apt title for the snare-heavy 11th track.  It’s all about that uncomplicated beat, but there is a cool baroque section in the middle that sounds as if lifted from Joe’s brief stint in Deep Purple (1994).  A tender ballad (“Butterfly and Zebra”) is a transitional song leading to the ominous backwards guitar intro to “If There is No Heaven”.  This song is reminiscent of past Joe blasters like “One Big Rush”. Then you will see the “Stars Race Across the Sky” on one of Joe’s more atmospheric tracks. A “Goodbye Supernova” sends us off in dramatic fashion with heavy keyboard accents by veteran Mike Keneally.

Very few Satriani albums will let you down.  Though some might argue “if you have one Joe, you have them all”, his fans will appreciate the differences.

3.5/5 stars

REVIEW: Sword – Live Hammersmith (2016)

scan_20170103SWORD – Live Hammersmith (2016)

30 years ago, there was a heavy metal band from Quebec named Sword.  They only released two albums (Metalized and the more ambitious Sweet Dreams) before disbanding at the end of the 1980s.  Lead singer Rick Hughes is one talented guy though, and he gave it another shot with a hard rock band called Saints & Sinners in 1992, who were produced by Aldo Nova.

Hughes has remained active in Canada, though Sword are now long gone.  Fortunately the internet has given old metal bands like Sword a way to get back in touch with their fans.  Thanks to the web, you can now buy a live CD recorded in 1987 on Sword’s opening tour with Motorhead.  Lemmy took the band under his wing early on and fortunately this live tape survived.  They played two nights at Hammersmith Odeon and recorded them to 4-track tape.  The liner notes do not state which gig the CD is from, or if it is a mixture of both.  Considering the age of the tapes, Sword’s Live Hammersmith CD stands up remarkably well.  There is a real sense of “being there” at Hammersmith, in spite of (or because of) the sonics.

Ripping through all 10 tracks from their debut album, Sword made the most of their opening slot.  Even so, they still had time for a brand new song too, “Prepare to Die” (later released on Sweet Dreams).  With 11 songs and only 36 minutes, Sword’s already thrashy material seemed faster live.  Sword’s songs had the goods, too.  These blazing aggressive tunes weren’t simple or easy.  Most importantly, Rick Hughes’ incredible metal shrieks were 100% intact in the live setting.  Hughes’ voice was critical to the Sword sound, being their most unique characteristic.  It is always disappointing when you hear a band live, and the singer can’t scream like the album.  Not a problem with Sword.

The singles “F.T.W.” (“Follow the Wheels”) and “Stoned Again” are the immediate highlights.  The gallop of “F.T.W.” sounds like a heavier Iron Maiden, while “Stoned Again” goes for the groove.  If anything, the songs have more impact in the live CD setting.  It is quite possible that Sword were one of those bands who were better live than on album.  They were, at the very least, flawless live.  Rick Hughes didn’t miss a note, word or scream.  Dan Hughes (drums) was also bang-on.  You can’t get a live album like this without the rhythm section doing it right.  Dan Hughes and bassist Mike Larock were right there, locked in, and driving the machine forward.  Larock had the groove, and also a knack for throwing in catchy bass runs.  As for the lead work, Sword were a one-guitar band, so Mike Plant had to switch from rhythm to lead seamlessly, and he made it all sound easy.

Inhabiting the fine line between metal and straight-up thrash, perhaps Sword were not unique out there in the 80s trying to make it.  This CD proves that they did have the talent.  As Henry Rollins says, live is “the only way to know for sure”.  A soundboard recording like this is as close as you will get.

As an added bonus (always appreciated in these frugal days), the Sword CD is signed by all four members and comes in a jewel case.  A very nice reward for the devoted fan.  You can buy Live Hammersmith from the Sword Facebook page.

4/5 stars

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REVIEW: The Four Horsemen – Death Before Suckass (2012)

scan_20161216THE FOUR HORSEMEN – Death Before Suckass – Live at Saratoga Winners (2012)

“No edits.  No overdubs.  No bullshit.”  No kidding!  There also also no frills, just seven songs and 30 minutes of rock and roll.

Death Before Suckass, recorded fall 1991, sounds like a crowd recording.  You can tell by the douchebag talking before the Horsemen’s set.  “You should see our drum kit!  It fuckin’ blows that one away!  $5000 Yamaha…”  Whoop-de-do, fucko.  Because no matter how much your kit costs, I doubt you could hammer on it as hard as Ken “Dimwit” Montgomery did on his.

Dimwit swiftly kicks things into motion, with “75 Again”, a screamy rocker that is about 9 out of 10 on the AC/DC scale of kickass.  Lead singer Frankie Starr’s voice was primed for screaming, and could do it better than most.  Without even a pause, “Hothead” follows up.  In a groove now, lead guitarist Dave Lizmi greases up his Gibson and lays down some beautifully fluid solo work.  In the realm of heavy bluesy rock and roll, few can touch Dave Lizmi.  Then rhythm guitarist Haggis takes out his slide for the single “Tired Wings”, soaking it in whiskey stained blues.  Frankie’s charismatic singing shares the spotlight with the biting licks.

frank-c-star-biting-licks

A non-album Savoy Brown that used to get some live play was “Can’t Get Next to You”, an AC/DC blues a-la “The Jack”.  There is a sloppy edit into “Wanted Man” but as Haggis says in the liner notes, there is nothing perfect about this CD.  “Wanted Man” comes close, with Lizmi again doing some really impressive playing on the six string.  The most familiar songs are the singles “Nobody Said it Was Easy” and “Rockin’ is Ma Business”.  The beat is a little faster, a little more intense for the stage.  The only tragedy is the fidelity of this CD does not capture the thunder.  You can hear it on the stage, but you cannot feel it shake the floor.  Too bad, because you can be assured it all but certainly did shake the floor.

And this leads to a quandry.  This album is packaged intentionally minimalist.  It suits the recording inside.  But it has hard to ignore that what is recorded inside is only 30 minutes, and costs $18 US plus shipping.  Yes, it definitely costs The Four Horsemen a lot to press up these independent discs, and they surely don’t make a lot of money on them.  Still, it is hard for the cash-strapped fan to justify that kind of money, unless you are a superfan.  And unfortunately, it is likely that only superfans will be able to appreciate Death Before Suckass as the valuable noisy treasure that it is.

3.5/5 stars

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COMPLETE FOUR HORSEMEN REVIEW SERIES:

1. NOBODY SAID IT WAS EASY (21ST ANNIVERSARY EDITION)
2. GETTIN’ PRETTY GOOD…AT BARELY GETTIN’ BY (1996)
3. WELFARE BOOGIE (21ST ANNIVERSARY EDITION)
4. DAYLIGHT AGAIN (21ST ANNIVERSARY EDITION)
5. LEFT FOR DEAD (1988-1992) (CD/DVD SET)

REVIEW: Monster Truck – Sittin’ Heavy (2016 double vinyl)

“I don’t care ’bout the weather, the band’s here to play.” – Jon Harvey

img_20161113_081455 MONSTER TRUCK – Sittin’ Heavy (2016 Dine Alone 2 LP edition)

Why are you not rocking?  This is the question that Monster Truck ask to open their 2016 release Sittin’ Heavy, easily the best record the quartet have released to date.  “Rock and roll might save your life, it might save your life tonight.”  Perhaps this is the Truck’s modus operandi, because judging by Sittin’ Heavy they are interested in delivering the rock and doing it right.

From the short blitz of an opener, Truck go right into the first single “Don’t Tell Me How to Live”.  The track has been a radio staple in Canada for most of 2016, and it’s easy to see why.  The slow riffy groove is easily digestible by rock fans craving that sound, backed by a searing chorus about eagles and lions.  Some have compared this band to another Nickelback, but on Sittin’ Heavy they have moved far beyond those measures.  Nickelback has never delivered anything this classic sounding.  Track three, “She’s a Witch” has a modern swampy vibe that Chad Kroeger couldn’t hope to taint.  Three songs in, Monster Truck delivered three completely different tunes, though all with the rock solid Truck groove.  One ingredient that separates the Truck from the crowd is the soulful organ provided by keyboardist Brandon Bliss.  “She’s a Witch” is one track with a bizarrely heavy soul-metal vibe.  That vibe culminates with “For the People”, an uplifting track that closes side one of the vinyl.  The soul-rock vibe is obvious and augmented by Ian Thornley of Big Wreck who lays down some of his trademark wicked slide guitar.  The Wreck-ifying of the track unites the two bands in a cool, celebratory way.

Flip the vinyl, and take a moment.  “Black Forest” is a organ based track, slow and mournful, and very different from any of the four on side one.  When a band like Monster Truck turn down the volume, they risk revealing that there is little substance beneath the howling distortion.  This is certainly not the case here.  “Black Forest” has a more subtle touch, and the band allow it to breath.  As a result it’s one of the most stand-out tracks.

“Another Man’s Shoes” walks us back into familiar territory.   The Truck don’t make things complicated, and guitarist Jeremy Widerman’s Frehley-like solos are just what the doctor ordered for these musical bruisings.  They take a left turn down Abbey Road next by adding some Beatles-like piano vibes to “Things Get Better”, an outstanding track.  “I got a feelin’ thing’ll get worse before they get better,” sings Jon Harvey but he couldn’t be more wrong.  Sittin’ Heavy keeps getting better the more you play it, and “Things Get Better” is a high water mark.  Side two blasts its way to a finish on “The Enforcer”, which races home with plenty of the Truck’s trademark “woah-woah-woah” gang vocals.

The third and final side (we’ll talk about that shortly) begins darkly with a Sabbath-like “To the Flame”.  Widerman and Harvey seemed to study at the feet of Iommi and Osbourne when composing this menacing crawl.  “Midnight” takes the tempo back up to cruising speed.  Going in at low altitude, the Truck bomb your senses with a vinyl-only bonus track.  Considering the price you pay for a record vs. a CD, it is nice to get something like a bonus track for your dollars.  In the 80s, it was common to put a bonus track on the CD, since it was the most expensive format at that time.  Now the situation is reversed.

A choppy riff introduces “New Soul”, a purely enjoyable return to the church of soul-rock.  It’s a head-bangin’ good time.  Clap your hands for a good time (unless you’re listening to this while driving, in which case, keep ’em steady on the wheel).  Then the final track is appropriately the ballad “Enjoy the Time” which sounds like a natural way to end a soulful rock album like Sittin’ Heavy.  Its Supertramp-like keyboard tones lend it a unique sound over the rest of the album.  It also sums up the vibe of the whole album:  “Enjoy the time we have, before they’re gone away.”

But what about the fourth side?  What’s on that?  Check out the etched vinyl, baby!

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If you are looking for a new rock album that sounds classic, then you have found one.  Those who like a rock record to be a journey of highs and lows and with a satisfying conclusion, then Sittin’ Heavy is the one.  With little doubt, this one is going to be on a few best of 2016 lists at the end of the year.

5/5 stars

 

REVIEW: Warrant – Cherry Pie (1990, remastered)

scan_20161207WARRANT – Cherry Pie (1990, 2004 Sony remaster)

It was bands like Warrant, and albums like Cherry Pie, that made the 1991 grunge onslaught inevitable.

If Motley Crue were the poor man’s Kiss, and Poison were the poorer man’s Motley Crue, then Warrant are the pauper’s Poison.  Heck, Poison’s C.C. Deville even shows up on guest lead guitar on Cherry Pie‘s title track.  Think about that a moment.  How bad do a band have to be to warrant (no pun intended) a C.C. Deville guest guitar solo?  Guitarists Joey Allen and Erik Turner even confessed to having guitar tutors in the studio helping them come up with their own lead work.

Cherry Pie was an improvement in some regards over the prior album Dirty Rotten Filthy Stinking Rich.  The second single, “Uncle Tom’s Cabin”, remains a high point for this band.  Swampy bluesy guitars and a kick ass melody?  Who cares if that’s not Warrant playing on the acoustic intro (it’s singer Jani Lane’s brother Eric Oswald), and so what if that’s not Warrant on the banjo (that’s producer Beau Hill)?  “Uncle Tom’s Cabin” is one of those rare Warrant songs that you just have to get.  Instead of singing about girls, Jani chose to write a story about a murder and a coverup.  It’s far more entertaining than “She’s my cherry pie, put a smile on your face ten miles wide.”

Speaking of “Cherry Pie”, as embarrassing as it is, did you notice that’s not Jani Lane on the opening scream?  It’s an uncredited Dee Snider, sampled from Twisted Sister’s song “I Want This Night (To Last Forever)”.  Guess who produced both albums?  Beau Hill.   Rather, he overproduced the hell out of both albums. Rather misleading.

Warrant’s biggest hit was a ballad, and so Cherry Pie has more.  “I Saw Red” was glossy and enhanced with piano, but the acoustic version that was later released as a B-side was better.  The second ballad, “Blind Faith” had more heft, though it is little more than a rewrite of “Heaven”.  Another acoustic track called “Thin Disguise” was even better than either of these songs, but was relegated to a B-side.  Too bad.  This album could have used it.

Warrant are better when just rocking out.  There are a couple indispensable Warrant rockers on Cherry Pie.  “Mr. Rainmaker” is remarkably powerful with dark clouds.  It’s in the same mold as “Uncle Tom’s Cabin”, with a chorus that is still memorable today.  “Bed of Roses” and “Song and Dance Man” are strong also-rans.  There are other notable songs (“Sure Feels Good to Me” set speed records for this band) but on the whole they are a harsh blend of sound-alikes.

Buyers should be aware there are two versions out there of Cherry Pie, “clean” and “dirty”.  The “clean” version is missing the track “Ode to Tipper Gore”, and has a naughty word beeped at the start of the Blackfoot cover “Train Train” (1979).  How unexpected it was to hear that beep, and how ripped off did we feel since it was not advertised as a censored version?  A beep in a rock song is a rare thing indeed.  If you get the uncensored version, you’ll hear the “All a-fuckin’ board!” intro correctly, which is important since “Train Train” absolutely smokes.  “All a-BEEPin’ board!” just didn’t cut it.  Covering “Train Train” was one of the best decisions Warrant made on this album.  Warrant transforms it from a hard southern rocker to a plain old hard rocker, but the transformation works and the groove is the only solid one on Cherry Pie.

As for “Ode to Tipper Gore”, it is just a joke track made up of naughty outtakes from Warrant concerts spliced together into one stream of “fuck”.  (Tipper Gore was behind the PMRC, the scourge of 1980s censorship.)  It is included on the 2004 Sony remastered edition, along with two bonus tracks.  Strangely enough the two bonus tracks have nothing to do with this album.  “Game of War” is the long-sought 1988 demo that garnered Warrant attention at the labels.  It’s unpolished but you can hear how an A&R person looking for the next Poison would have signed this band.  Finally there is a track called “The Power” from a 1992 Cuba Gooding Jr. movie called “Gladiator”.  It is the only song on the CD not produced by Beau Hill.  Erwin Musper gave the band a less cluttered sound, and the song has a corny stadium-ready stomp like “Rock and Roll, Part 2”.

Although you don’t need the remastered version if you just want to check out Cherry Pie, you do need to at least seek out the uncensored version with “Ode to Tipper Gore”.  That way you won’t have to listen to the beep in “Train Train”, which is a song worth having.

2.5/5 stars

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REVIEW: The Black Crowes – iTunes Originals (2008)

crowes-itunes-originalsTHE BLACK CROWES – iTunes Originals (2008)

If you ever spy these iTunes Originals sets from bands you like, then have a gander at the track list.  The Black Crowes’ edition contains original hits, but also has unreleased exclusive versions.  There is also a long interview session (spread through the set) with Chris and Rich Robinson, a good and revealing chat.  In total the set runs over an hour and a half.  Chris and Rich are vivid storytellers and the interviews are good enough to want to listen to more than once.  They surprisingly reveal that punk was a strong early influence.  Rich recalls seeing Corrosion of Conformity which opened up a new world for the brothers Robinson.  The punk shows gave the band a “try anything” attitude in concert, including playing brand new songs that they didn’t have words for yet.  But their influences also stretched deep into indi rock, folk, jazz and beyond.

“Twice As Hard” from the debut album is the first hit song presented, and damn if it isn’t still as fine as the day it dropped in 1990.  That simple classic British blues rock sound gave the Crowes the springboard they needed to drive them on to greater achievements.  It was different for the time.  Yet the ballad “She Talks to Angels” was really special and that’s here too.  With the interviews in between explaining the journey, iTunes Originals plays like an audio documentary.  The story and the music get more interesting as you go.  Each album brings something new to the table.  By Your Side was a “strange place”, says Chris, but its title track still rouses the senses.

It’s a light sprinkling of hits and album cuts moving forward through the discography of the Crowes. The main thing for long time fans is the exclusive material, all acoustic versions recorded by Rich and Chris. The Otis Redding cover “You Don’t Miss Your Water” is a song they’ve been singing together for years, but never recorded until now. What a lovely song, and what harmonies.  From Three Snakes and One Charm, “Good Friday” is rendered slower and sadder.  The stripped down approach of these acoustic recordings lends “Welcome to the Good Times” from By Your Side a new appeal.

The Crowes split up for a bit in the early 2000s, but you can’t keep the Robinson brothers apart for too long.  War Paint (2008) was their reunion as the Crowes.  With new and returning members, the band felt revitalized.  “Oh Josephine”, another acoustic exclusive, is as pretty as “She Talks to Angels” 18 years earlier.  The last of the exclusives is “Goodbye Daughters of the Revolution” which also closes the set.  Upbeat gospel rock and roll works as well electric as it does acoustic.  “Goodbye Daughters of the Revolution” was one of the finer moments on War Paint and it’s perfect for ending this iTunes Originals.

4/5 stars

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