HELIX – “(Gene Simmons Says) Rock is Dead” (2016 music video from the forthcoming album Rock It Science)
“I don’t need no god of thunder to tell me what is great.” — Brian Vollmer
Helix are back once more, with a new greatest hits album called Rock It Science.* You gotta have a new song on a new greatest hits (teased previously as “Mystery Track”), and this new song is timely and sharp. Gene Simmons does indeed say that rock is dead. In fact he’s been saying that for over 25 years. I have a M.E.A.T Magazine interview with Gene from 1990 where he professes that rock is indeed dead. And he’s still saying it now. But Brian Vollmer retorts, “Don’t believe it when Gene Simmons says rock is dead!”
Sure, lots has changed, but Helix keeps going. It’s not the 80’s anymore. Very few can sell 2,000,000 copies of an album today. It’s hard to make a living just by selling records. You have to diversify. Everything has changed — but like many things, the more they change the more they stay the same. Rock is not dead. In many respects, rock is more popular than ever. Helix are still producing great quality music, and “Gene Simmons Says) Rock is Dead” is one more gem for their rock crown. Daryl Gray and “Fritz” Hinz are still there on the rhythm section. Chris Julke and Kaleb Duck handle the axes just fine. This could have been on an album like Back for Another Taste.
As far as the video goes, Brent Doerner directed this one. The Gene impersonator is bang-on — I hope Helix don’t get sued for this! The video celebrates the old school. It’s performed at Speed City Records in London, Ontario. (Look for cool posters of bands such as Gob and VoiVod, who Gene slammed in the 1990 M.E.A.T interview.) I really dig Daryl Gray’s Helix logo bass guitar. That looks like a bitch to play. Brent captured the fun side of the band in the video. It’s not glossy, but I think it does the trick.
There’s no release date yet, but Rock It Science should be available to purchase soon. Check out the CD cover, also designed by Brent Doerner.
Rock is dead? Hardly. Gene’s been wrong before, and he’s wrong again.
4/5 stars
*The title It’s ROCK Science, Not Rocket Science was a working title for 2009’sVagabond Bones.
DEE SNIDER’S S.M.F.s – Live / Twisted Forever (1997 Pulse)
When Twisted Sister split in 1987, I don’t think anybody ever really expected there to be enough demand for a reunion. How wrong we were! During the downtime when the band was acrimoniously separated, Dee Snider carried on with a low-key solo career. Widowmaker’s Blood & Bullets (featuring Al Pitrelli and Joey Franco) was heavy as fuck even compared to early Twisted Sister, but failed to make any sales impact.
A few years later (1995), Dee went on the road with the S.M.F.s (Sick Mutha Fuckers, of course) playing nothing but classic Twisted Sister. It went almost completely unnoticed, but a live album (recorded raw, straight to two track tape) was recorded and released as Twisted Forever. This hard to find disc is well worth having. Dee played a variety of Twisted material, some of which you’ll probably never hear live again. It was a surprisingly good album on some fly by night label, and an easy must-have for any Twisted fan that finds it in good shape.
Just like the good old days at the Marquee in England, Dee opened with “What You Don’t Know (Sure Can Hurt You)”, one of the fastest tunes in the Twisted catalogue. Only the true fan will realize by listening alone that the band is not Twisted Sister. I don’t know any of these guys, but they are more than up to the task. As for Dee, the year may as well be 1981 for all the ferocity he pours into every shriek and every scream. With a double shot of early Sister, “The Kids Are Back” lives up to its name, and the crowd are behind Dee 100 fucking percent. “Stay Hungry” only gets them going more and more. The audio quality is good enough for rock n’ roll. Think of it as a great bootleg, a desk mix. You can hear the bass clearly, not always true for bootlegs, and the vocals are clear as a bell. What is also clear is that this is 100% live.
Dee Snider never changes and there is plenty of time for lightning-fast stage rants! “Am I in your way? Oh that’s OK, now the fucking BEER comes through here! NO! This is my fucking stage, do me a favour, and get the fuckin’ beer off the stage!” Then, “Yes, but I’ve mellowed with fuckin’ age. No I haven’t!” It’s true, though his schtick is probably at least partly done because it’s expected of him. (Later, he does a Cornholio impression, and rips into Al Gore. Ah, the 1990’s!) Dee even does some of the same song intros, such as “Destroyer”. “You got hands! Use ’em!” screams Dee as the riff begins. Now you can bring that tough New York street vibe into your living room.
Hit after hit, and fan favourites galore, Twisted Forever is especially desirable for some more obscure songs. 1985’s Come Out and Play was the album that more or less did Sister in. Dee can’t seem to remember when he recorded it (1987 he says). The Come Out and Play medley is an eight minute stream of tunes includes parts of the title track, “Leader of the Pack”, “I Believe in Rock ‘N’ Roll” and “Be Chrool to Your Scuel”. A little bit later in the set is the awesome “Wake Up (The Sleeping Giant)” from 1987’s controversial Love is For Suckers. Dee says they do those tunes due to relentless demand from the fans. I believe it: “Sleeping Giant” is one of those hard rock songs that should have been a classic. All these tunes are heavier than the somewhat limp album versions, and Dee could still hit all the notes.
I think Twisted Sister is a band that were always better than people assumed they were. Their new film, We Are Twisted Fucking Sister, demonstrated just how driven they actually were, with care and craft put into their reckless music. These are songs that might not be known to the masses, but should be. I’d rather hear “You Can’t Stop Rock ‘N’ Roll” on the radio than the oft-played “We’re Not Gonna Take It”. There is so much emotion on this album. At one point, Dee stops to tell the crowd, “I’d appreciate it, if everybody would stop smiling for the next 30 minutes or so. You’re making it very hard for me to act mean on stage.” This particular moment is from a home gig in Long Island, and it sounds like a family reunion of the twisted kind. The climax of the CD is Twisted’s signature ballad “The Price”, and Dee didn’t even need to sing, the crowd could have done it all for him. All that’s left after a song like that is “S.M.F.”, over and out!
For my money you can’t beat a good raw live album recorded in a small club. Twisted Forever delivers. It might not be Twisted Sister…but when I listen to it I honestly don’t care!
Now here is an album I haven’t played in a long time!
When the supergroup known as Damn Yankees first emerged in 1990, they quickly became my favourite new band. Ted Nugent, Tommy Shaw (Styx), Jack Blades (Night Ranger) and drummer Michael Cartellone emerged with one of the hottest new albums of the summer: Pure radio-ready hard rock, but with the integrity added by the Nuge himself. All aboard!
(I like that Ted is in the credits also as “security”. You can picture it.)
So what is Damn Yankees? Light rock, Great Gonzos, or a mixture? The answer is: all of the above.
The predominant direction is radio-ready hard rock circa the time. Even though all these guys had been around for a while (especially Ted), if you didn’t know who they were it was easy to mistake them for the new hot band. Their lyrics are geared to the young.
Dressed to kill and lookin’ dynamite, With her high-laced stockings and her sweater so tight, I asked her name, She said her name was ‘Maybe’…
Oh come on guys! Jack Blades was 36 years old when he sang that. We already have one Gene Simmons. Thankfully, the lead single “Coming of Age” was musically impeccable for hard pop rock. Lyrically, there is nothing of any value here, just meaningless male drivel. The Van-Hagar like licks of “Coming of Age” are enhanced by the aggressive lead guitar work of Terrible Ted, who probably thought the lyrics were pure poetry.
The bluesy riff of “Bad Reputation” screams Nugent, but the vocals of Blades and Shaw blend as if they have always been a vocal team. Of course as we all know, Damn Yankees led to a long and very productive partnership for the two, with Shaw-Blades being a personal favourite album. The most remarkable thing about Damn Yankees is indeed the blend of vocals. Just listen to that bridge in the middle of “Bad Reputation”. Two rock singers rarely complement each other as well as Shaw and Blades. But just when you thought it was going too folksy, Ted returns with a fluttering blitzkreig of strings and (probably) freshly killed meat.
“Runaway” features some of Shaw’s great slide guitar work, on a mid-tempo rocker with an unforgettable anthemic chorus. Damn Yankees is often forgotten for its guitar work. Think about it though: Tommy Shaw and Ted Nugent are two of America’s best from the old school. While the songs are simple pop rock, the solos are simply awesome.
By the time fall 1990 rolled around, it was time to drop a ballad for a single: “High Enough”. In the year 1990 there were a number of acoustic ballads that were all very similar sounding: “Silent Lucidity”, “More Than Words”, and “High Enough”. There is no better way to describe “High Enough” than “sounds like summer 1990”. Unfortunately it does not stand out or have any qualities that make it more memorable than the other ballads out that year. The saccharine strings just do me in. I get ballad-fatigue. And let’s not even talk about that awful music video.
The band’s namesake track “Damn Yankees” sounds like a Nugent song. It has a chunky, ballsy riff, though nothing to write home to mother about. Unfortunately the lyrics are terribly dated, the kind of pro-American intervention sentiment that went out fashion many years ago. With references to Manuel Noriega and the Middle East, this is all much less glorious with the benefit of hindsight. There’s a lesson to be learned there: avoid overly politicizing your lyrics, young rockers.
For a better ballad than “High Enough”, check out side two’s opening track “Come Again”. This one is old-school, sounding something like Styx’s “Boat on a River” colliding with the Nuge on “Stranglehold”. It builds into a frenetic solo section that is just to die for, Nuge seemingly doing his best Eddie VH impression. Then on “Mystified”, Ted brings the blues while Tommy gets down on the pedal steel. This is a great little blues rock jam of the kind ZZ Top are comfortable with. I’m certain Rev. Billy would approve of the Nuge’s blues licks, authentic as they come.
“Rock City” ain’t bad at all, accelerated for your pleasure and name-dropping Jimmy Page in the lyrics. It’s not the heaviest song on the album — they save that for the end — but it’s definitely second. There is little doubt, based on interviews with the band, that the heaviness came from Ted. Let’s all take a moment now to thank Ted Nugent for rocking so damn hard. Thank you, Mr. Nugent. Penultimate track “Tell Me How You Want It” is a pretty good mid-tempo song, with classy vocals from Tommy and Jack. Had they released more singles from the album, this one would have been up for the job.
And then finally…
A blues lick, and Ted speaking: “Nice lick! I have a feeling this is gonna be a rhythm and blues song…nice, real nice. Tasty. WAITAMINUTE!”
“Piledriver” is just a dumb sex song, but it’s also pure Gonzo Ted, the Ted you knew was hiding somewhere on this album. You wanna hear Ted go friggin’ top gear for four and a half minutes? “Piledriver”, baby! Tommy and Jack on the backing vocals even drop an F-bomb! Can you believe it? They’re the nice guys of the band! But let’s not forget Michael Cartellone on the drums, hammering relentlessly, not only keeping up with Great Gonzo but setting the freakin’ pace! Even without headbanging along (strongly recommended), you’re exhausted by the end of the tune.
I say again, thank you Mr. Nugent.
As it turns out, Damn Yankees is still an entertaining listen 26 years later. I didn’t properly appreciate the smoking guitars on it at the time. Back then, I was interested in ballads and singles and catchy tunes. Even so I still liked “Piledriver” back then…because it’s awesome. The album’s real flaw is on the lyric sheet. I know these guys can do better than some of these tracks.
Now here’s a local success story in the making! Four guys with nine songs headed south to record their debut album in Texas with producer Sterling Winfield, whose name you might recognize. He has Pantera, Damageplan, and Hellyeah albums on his resume, so it seems obvious that A Rebel Few were going for a heavy sound. What they ended up with is one of the best sounding indi heavy rock albums you’ll likely get to hear.
There are Pantera influences, and you can hear some Zakk Wylde too. What sets these guys apart is singer Raposo (just Raposo). He’s more than just another melodic growler. The world is full of those. We have enough. Raposo has depth and control, as well as expression. He can do a smooth voice, not just the growls. He’s world class. He fits the band, who combine shredding with riffs, groove, heavy bass and drums.
All the songs are good, but there are some that really stand out. “A Rebel Few” hits the highway with anti-matter propulsion, so furious it is. Many of the riffs on this album sound Sabbathy in origin, and “Born Again” is one such moment. “Empires Fall” is radio-ready riff rock. There is some seriously good shit on this album, and it’s all crunchy and heavy on the low end. What it lacks in originality, is made up for by the vocals. Listen carefully; you will hear a serious amount of vocal quality that you don’t get out of the general rock herd. When Raposo really gives’er, he almost sounds like a young John Bush.
This album will give you a burst of energy like one of those awful caffeine drinks…but good for you! If you are not air-drumming or air-bassing or air-guitaring along, then you are not doing it right. This review is taking longer than average to write, because you can’t type while you’re furiously air-drumming along with Chris Spiers. As for the air-guitar part, I find lead shredder Barry Marton on his way to developing into a monster. He can play it bluesy, he can play it slick. The raw material is there and you can hear glimmers of depth between the blurs of notes.
The big surprise is saved for last, and it’s a doozy. “Pure Revolution” would be a good title for a speedy rock number, but it’s just the opposite. Touches of piano and light guitar introduce the only power ballad on the album, and it’s a good’er. Maybe calling it a power ballad isn’t right, but it has ballady moments, and also powerful riffs, so why not? There are heavy Dio guitar chugs, but also those quiet spaces where the vocals really get to come out. Either way, it’s a kick-ass song.
Get this CD. Use your fingers, Google the band “A Rebel Few”, and do what you gotta do to get this music in your ears today.
MOTLEY CRUE – 20th Century Masters – The Millennium Collection (2003 Universal)
As a change of pace, this review focuses not on what is on the album, but what was left off. This 20th Century Masters is more than a little shoddy, as this series can often be. So let’s talk about what it is not.
Too Fast For Love
“Piece of Your Action” is a great little ditty from the debut record Too Fast For Love. What you’re missing though: the speedy single “Live Wire”! It makes little sense to have this one without “Live Wire”.
“Shout at the Devil” and “Too Young to Fall in Love”: Great choices. Both are classic 80’s metal. What you’re missing is hit single “Looks that Kill”. But as Meat Loaf says, two out of three ain’t bad.
“Home Sweet Home” is Motley’s biggest hit ballad ever, but where is the Brownsville Station cover “Smokin’ in the Boys Room”? Can you believe it’s not on here? And it’s not because it’s a cover, because, well, we’ll get there.
Girls, Girls, Girls
The title track makes good sense to include, but why is “All in the Name Of…” on here instead of “Wild Side”? Also missing, but understandably so, is the ballad “You’re All I Need” which never made much impact. “Wild Side” though remained a concert staple to the end, so that’s one you’ll need to find elsewhere.
Dr. Feelgood
There were five singles on this album, and of course you can’t include them all on a 20th Century Masters CD. What you do need are the title track and lead single “Dr. Feelgood”, and obviously “Kickstart My Heart”. “Kickstart” was an explosive statement by the band, proving they were as mighty as ever without the drugs. Those two songs embodied the album, but there’s no “Feelgood” here. Inexplicable! Certainly one of the biggest oversights on this disc.
Great song! Not on this CD!
Decade of Decadence
For reasons that are unexplained and perhaps best left that way, instead of including any of the above better known songs, 20th Century Masters has the far less famed “Rock ‘N’ Roll Junkie”, and Sex Pistols cover “Anarchy in the UK”. “Junkie” is a Feelgood outtake, original released on The Adventures of Ford Fairlane soundtrack in 1990. “Anarchy” was recorded for Motley’s first greatest hits, Decade of Decadence. Neither song is essential, and both are on Decade. Why are they here? “Primal Scream”, which was a powerful single, is a must have. But it’s not here. Yet another song you’d still have to get elsewhere, because it’s awesome and important.
No complaints here. “Hooligan’s Holiday” is included from 1994’s self-titled album with John Corabi on vocals. Nice to see this single represented instead of ignored.
At this point, for a compilation like 20th Century Masters, I don’t think you need to explore the 90’s. But, from 1997’s dreadful Generation Swine comes the title track. Not the minor hit single “Afraid” mind you, but the title track which did nothing and went nowhere. Baffling!
Ending the album with “Hell on High Heels” brought the compilation up to date for its 2003 release date. Unfortunately, there was nothing on New Tattoo worth bringing to the table. Tommy Lee had left and there was a serious dip in quality, even after Generation Swine. Although it was the only Motley album featuring late drummer Randy Castillo, New Tattoo is simply a turd with no songs that are up to snuff. Crappy way to close a pretty crap compilation, though. Motley Crue’s instalment of 20th Century Masters sounds as if it’s a single disc from a double CD compilation, and the other CD’s been lost. Sorry Motley, this CD gets the dreaded Flaming Turd.
There is no doubt that a decade and a half of war has dramatically changed the United States. In 2009, Queensryche decided to deal with their feelings by writing a concept album on the subject. It’s something that they do very well, and American Soldier, the finished product, was another ambitious piece of work. Although the album was mostly written by Geoff Tate and his friends Jason Slater and Kelly Gray, in reality it’s the last good album the band made with Tate.
The band interviewed soldiers for this album, and their words are a huge part of the record. The track “Unafraid” opens like this, creating a hauntingly serious atmosphere. At times, the music is toned down, allowing the dialogue to speak. It’s an interesting effect and certainly it works in creating the mood that the band were going for. I think it is also a token of appreciation to the soldiers who defended the country. They had a chance to speak their minds, and be immortalized in music. That’s pretty cool.
The end result is a good album that is not necessarily easy to listen to. There is no “fun” in this music, it is dead serious the whole way through. The intensity burns and you can hear that Tate was focused like a laser on this project. The songs are fine; not Mindcrime quality but I don’t think that anthemic progressive rock would have fit American Soldier. The single misstep is the vocal by Tate’s daughter Emily on “Home Again”. What was meant to be a dramatic, emotional focal point is instead distracting.
Among the best tracks are “Sliver”, a cool opener featuring an actual soldier (A.J. Fratto, a 14 year vet) barking orders with the music. Fratto ended up touring with the band in support of this album. Well done, sir! “Hundred Mile Stare” is slow and intense. The hundred mile stare in the song is a variation of the thousand yard stare — a distant look in the eyes a soldier gets after they’ve been in the field too long. “A Dead Man’s Words” is another complex highlight, middle-eastern in style and clearly about conflict in that region. This one is perhaps the most “Queensryche” of the songs, in the sense that you can hear their classic sound at play. This includes a Tate sax solo, something I wished he did more of with the band. Then, for choruses, I have to go with “The Killer”. For sheer intensity, it’s the soldier’s story on “If I Were King”. If you want heavy ‘Ryche, then “Man Down!” is the track for you.
One disappointing factor in American Soldier only hits you when you open the booklet. Great artwork aside, it’s really too bad that Tate relied so heavily on his buddies to make this album rather than his band. Drummer Scott Rockenfield has two co-writes, and that’s it. Damon Johnson from Brother Cane has just as many co-writes. The rest of the credits are variations of Tate, and producers Jason Slater and Kelly Gray. Queensryche were down to four members at this point, so Johnson and Gray subbed on guitars.
Although Promised Land was probably the most deeply personal Queensryche album, American Soldier is likely the runner up. At least for Tate and his collaborators, there is obviously a lot of their hearts and souls invested in this. Unsurprisingly, it is not an immediate album. It requires time, but it also requires space between listens. There’s no glory here, just stark reality, so take your time.
QUEENSRYCHE – Operation: Mindcrime II (2006 Rhino)
10 years ago, when this project finally saw the light of day, a lot of fans were expecting it to be 1988 all over again. However, there were many reasons why they shouldn’t have.
1. Longtime guitarist/songwriter Chris DeGarmo, such an integral part of the original Mindcrime, had been out of the band for quite some time. 2. Geoff Tate’s voice didn’t have that high-note power it once had. 3. The band never intended to pretend it was still 1988. This album is a continuation, 18 years later, and as such the music has changed somewhat as well. The albums are meant to complement each other, not duplicate each other.
The story picks up with Nikki, the anti-hero from the original Mindcrime, finally being released from prison, 18 years after the events of the first album. He begins to piece together his memories of what happened. He decides to pay Dr. X a visit (“X marks the spot”, goes the lyric), who is deliciously played by the late Ronnie James Dio. For die-hard Dio followers, this was a real treat. Dio sings as if in a stage production, which I’ve never heard him do before. Pamela Moore reprises her role of Sister Mary, playing a larger role and appearing on more songs. She’s a great complement to Geoff Tate, who clearly revels in the chance to do something dramatic like this.
New second guitar player Mike Stone (ex-Criss) gels very nicely with Michael Wilton, playing dual guitar leads that Queensryche of old would have been proud of. At the same time, modern technology has creeped into the production in the form of sequencers and samples, to remind us that this was 2006. Still, Eddie Jackson’s bass had never been recorded this well before; he should be very proud of his rumble. Scott Rockenfield’s back to playing some serious metallic drumming as well, leaving behind some of his tribal influences for the moment.
So, the actual sound of Mindcrime II is amazing. The songs however are not up to the very high standards that Mindcrime I set. There is no “I Don’t Believe In Love” or “Eyes Of A Stranger”, although some songs like “The Hands” come pretty close, with an amazing metallic riff and great chorus. (Did anyone else notice a few bars of music from “I Don’t Believe In Love” within “The Hands”? Listen again.) “I’m American” is lyrically fantastic, and angrier than anything Queensryche has done since Q2K. “Chase” is the one featuring Dio, and the one I keep coming back to.
The thing about Queensryche albums is, they do tend to get better with time. Maybe they were always slightly ahead of the curve, or more likely they just take a few listens to absorb. It’s been a decade now, and few of the Mindcrime II songs remain lodged in the my brain. Meanwhile, I could hum any song from the first one. In particular, the second side of Mindcrime II really takes a drop. Tracks like “Fear City Slide” do not have the impact of “I Don’t Believe in Love”, and the closer “All the Promises” fails to deliver. It’s a concept album after all, and the last song is like the last scene in a movie. It should be memorable.
Will Mindcrime II ever become classic like the original? Doubtful. As soon as you name something with a “II” behind it, you’re painting yourself into a corner, but Queensryche have done about as good a job as the fans could have expected. It seems many fans have warmed up to it over the years, though it certainly cannot be considered equal with the original.
On paper, it was genius. Teaming up the legendary drummer Carmine Appice with anyone will turn heads, but John Sykes, the ex-Thin Lizzy and Whitesnake guitar genius? Sign us up. Add in ex-Black Sabbath singer Ray Gillen, and the Firm’s Tony Franklin on bass, and that right there is an interesting combo. Two words were buzzing around the camp, and they were “blues” and “jams”. When the band did start jamming the blues, they realized that Ray Gillen didn’t have much to do during the long instrumental breaks they were producing. The decision was made to cut Ray and trim the band down to a classic power trio, with Sykes singing lead. The trio format was fairly unique among rock bands in the late 80’s. (Ray hooked up with another new blues-rock band, Jake E. Lee’s Badlands.)
Adding to the hype machine behind the new christened Blue Murder was the tapping of up and coming producer Bob Rock. Coming off of some hit albums by Kingdom Come and The Cult, it was assumed Rock would do the same for Blue Murder. They hiked up to Little Mountain Sound in Vancouver and recorded the album, dedicating it to Phil Lynott.
Unfortunately it was pretty clear after a few listens that despite the hype and big names, Blue Murder was not the supergroup debut that it should have been. Indeed, the lineup expired after one record.
Sykes’ singing was not the issue. His vocals on songs such as “Riot” and “Ptolemy” are more than adequate. Power and range were not an issue for Sykes. Perhaps his unique guitar stylings were too associated with the mega-selling Whitesnake 1987, because the sonic connections are obvious. Too much ‘Snake, not enough Lizzy. The songs are not all bad either, though many could use some minutes trimmed from them. At nine songs and 52 minutes, Blue Murder does have the instrumental chills that Sykes wanted to get across, but at the cost of diluting the impact with meandering rock songs. Other issues must fall at the feet of Bob Rock. Though Blue Murder earned the producer a nomination at the Juno awards in 1990, the muddy sound is very far indeed from what Rock can do. “Sex Child” is a perfect example of this. Rock strove to give Carmine a big drum sound, but there are also excessive keyboards and layers of vocals all occupying the same sonic space. This robs it of the groove. It’s a chore to finish the whole album in a sitting, due to some of these problems.
There are three album highlights that are possibly worth the expense to rock historians. They are the singles “Valley of the Kings” and “Jelly Roll”, and the epic “Ptolemy”. At 7:50, “Valley of the Kings” had to be severely edited down for a single/video. It has all the progressive rock qualities that you know these guys are capable of, and who isn’t a sucker for lyrics about pharoahs and pyramids? Must credit must also be given to Tony Franklin, who makes it sound as if the fretless bass is easy to play! You don’t hear enough fretless in hard rock, and Franklin is one of the world’s very best. Period.
Interestingly, “Valley of the Kings” was co-written by then-Black Sabbath singer Tony Martin. You can absolutely hear parallels to Sabbath’s Headless Cross released the same year – an album that also had some fretless bass on it thanks to Lawrence Cottle!
“Jelly Roll” was a music video, fitting the slot for some good time summer acoustic rock. Instead of going ballad, Blue Murder went to the bayou. The tricky slide licks recall Whitesnake, but unfortunately towards the end, the song sinks into typical ballad territory. It sounds like two songs melded together, but I like the first part best.
The final keeper is the progressive epic “Ptolemy”. Unfortunately the lyrics don’t have much to do with the actual mathematician and astronomer who lived almost 2000 years ago. Instead the song is about tomb robbing; unrelated to Ptolemy of Alexandria. This is a shame since they could have written about Ptolemy’s musical studies (Harmonics), or his influence on the concept of the universe of a series of spheres that create music. Fortunately the musical qualities of the song enable us to overlook the words.
There are also-rans worth checking out: particularly a track called “Billy” which is the most Thin Lizzy of all the tunes. You could imagine, if Phil had lived, that he could have recorded “Billy” for a mid-80’s Thin Lizzy album. Unfortunately most of the material resides in Whitesnake territory, especially the carbon-copy ballad “Out of Love”, and the closer “Black-Hearted Woman” which recycles Whitesnake riffs.
Too bad. Loads of potential, but blown in the delivery.
Sweden’s Chris Laney has some serious vocal and guitar chops, lemme tell ya. This debut CD by his band Laney’s Legion boasts heavy, world-class tunage marked with powerful lungs and guitar thrills! You want high octane? “On and On” will hit the spot. With slick production, “On and On” is a relentless intro, full speed ahead, sails to the wind, crack open a beer and let’s fucking do this.
“Taste of Your Tongue” goes a bit Nickelback on the verses, but they’re forgotten when you hit the vintage 80’s rock chorus, which rescues the song from residing in Chad Kroeger’s backyard for too long. Similarly, “Poptastic”, a tribute to rockin’ out with your Kiss albums, is all about the chorus hooks. It has an 80’s snarl like good Poison-Crue-Jovi. “We’re still good friends of metal, Priest and Helloween”, sings Laney. “I’m talkin’ bout Van Halen – 1984!” Hey man, I get that. His heart is in the right place, although I don’t refer to Van Halen as “poptastic” myself, I get what he means. The opening guitars are reminiscent of Van Hagar.
It’s all good though, because “Beneath the Surface” has a heavier groove and takes you to a more bangin’ headspace. The guitar solo, presumably by Rob Marcello, is pure nirvana. Since this album is a celebration of an era when an album was a collection of hard rockers and power ballads, “Bleed Within” is the expected softie. Like a perfect post-Hysteria Def Leppard ballad, “Bleed Within” combines the layers of backing vocals with the acoustic strumming to meld into sweet candy perfection.
Now, speaking of backing vocals, we should really take a closer look at the credits. “Let’s Get it On”, a heavy Ratt-like number, boasts some interesting names. Tomas Åkvik, Mathias Blom, and…Jompa Wilmenius? “Let’s Get it On” is a stellar track, loads of guitars and groove…but those backing vocals! That’s the key! Jompa is the secret weapon of hard rock gang vocals. Now, I will say that “Let’s Get it On” reminds me of a couple songs…can’t place them…but some of these hooks are familiar from the days of old. “Hollow” continues with the hard rock shred, with hint of Foo Fighters (think choppy, like “Everlong” in the guitars).
“Lady Luck” is the only song I didn’t connect with. Too modern, perhaps? It’s not a bad song, but similar to things that in Canada are quite overplayed on the radio. (That’s not Laney’s fault; that’s more Cancon‘s fault!) “Assassin of Our Love” returns to more comfortable territory, a solid power ballady track with hints of early Bon Jovi circa “Runaway”. Laney then proclaims “No One Can Stop Us”, rocking out Dokken style and advising “You’ve gotta get your shit together”! Again, special attention must be played to the classy and impressive solo work. “Legion” finishes the album by going a bit more metal. Savatage could have performed Legion, although the production clearly differentiates it from Savatage. We know where their heads are at by the credits though: “Thanks to Robert John ‘Mutt’ Lange for the inspiration.”
Laney’s Legion is an impressive CD. It is impeccably produced, and arranged to a “T”. It occupies a curious place in the space-time continuum. If hard rock never fell to grunge in 1991-1992, perhaps albums like this would be commonplace today. It’s rare to hear such focus on the hard rock-isms that were popular long ago, but with today’s recording tech. It’s a cool mesh, but the bottom line is, this is a better album than most of the Bon Jovi or Def Leppards in the last couple decades.
4.5/5 stars
But 10/5 stars on the backing vocals*
* Much gratitude toJompafor sending me this CD. He’s a great internet friend, and he though I’d like it. He was right!
THE TEA PARTY – The Edges of Twilight (20th anniversary Universal deluxe edition, originally 1995)
The Tea Party have long been slagged as derivative. “They sound too much like the Doors!” screams one corner. “Zeppelin copy-cats!” cries another. The first complaint isn’t true; singer Jeff Martin has a Morrison-like vibe but the Tea Party sound nothing at all like the Doors. The second carries some weight to it, especially when it’s 1995’s The Edges of Twilight we’re talking about.
Due to an early connection with folk singer Roy Harper, a cover of “Train Kept a-Rolling”, and exotic world music influences, the Tea Party have long been compared to the mighty Led Zeppelin. This was cranked up a notch on The Edges of Twilight. From dirty electric blues, folksy English-sounding ditties, and and wealth of stringed instruments from all around the world, the Tea Party just went for it. Though many praise the band’s prior album Splendor Solis (their major label debut) as a high water mark, Twilight exceeds it in almost every way. I seem to remember reading that the album had something like 50 different instruments on it. The sheer ambition and skill involved in pulling off an album this complex has to be admired.
That all sounds very heady and sophisticated, but the first single and opening track “Fire in the Head” rocks plenty hard. A perfect 50/50 mix of the exotic and heavy sides of the Tea Party, “Fire in the Head” is savoury. The Zeppelin comparisons are unavoidable, but because Jeff Martin is not that kind of singer, it has a darker more ominous ambience. “The Bazaar” then takes it up a notch and into North Africa. Still heavy, but with the world music more prominent, “The Bazaar” too was a single and a hit. Let’s face it, the last major band to combine Gibson Les Pauls and world music in this way was in fact Led Zeppelin. Is that a reason to criticize the Tea Party? The answer is no, because they did not choose to do something easy. They took the hard road with The Edges of Twilight.
There are many excellent songs on the album, including another single “Sister Awake”, one of the most complex tracks. There are heavy electric blues tracks like “Turn the Lamp Down Low” and “Drawing Down the Moon”, and fully acoustic songs like “Shadows on the Mountainside”. The best tracks are the most pompous. Similar to the singles from the CD, tracks such as “Walk With Me” and “Coming Home” are big and bold with loud choruses. Though not a single, “Walk With Me” is a fan favourite and considered one of their must-haves.
But that’s not all! After several minutes of silence (oh, the 1990’s!) there is a hidden unlisted bonus track! “The Edges of Twilight” is a poem written and spoken by Roy Harper backed with music by Jeff Martin. Having a guy like Harper in the band’s extended family lent them credibility that other bands could not hope for. And then there’s even another hidden snip of music. After another silence is a few seconds of a rehearsal of the song “Correspondences”.
Harper also appears on the bonus CD, on a song called “Time” which originally appeared on the 1996 Alhambra EP. This is a full-on 70 minute Tea Party track with Roy Harper singing instead of Jeff Martin. Ballady and somber, and then explosively electric, “Time” is a triumph that deserves a second look. (Other tracks lifted from that EP are acoustic versions of “Inanna” and “Silence”.) The bonus disc is otherwise loaded with demos, acoustic versions and alternate versions, and live takes. With the exception of “Time”, this is all purely supplemental stuff and mostly interesting to fans of the band. The demo versions are remarkable for how near-complete they are. The band did not need to tinker much with arrangements in the studio.
There are ample liner notes and photos. Co-producer Ed Stasium praises the CD and says it is one of the top five he has ever been involved in. Serious praise, but the album deserves it. The Tea Party took a detour after this into the world of electronica, with 1997’s Transmission. 20 years later, The Edges of Twilight remains the most impressive Tea Party album and the most heady mix of world music and rock and roll.
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