hard rock

REVIEW: Joe Satriani – Flying in a Blue Dream (1989)

JOE SATRIANI – Flying in a Blue Dream (1989 Relativity)

I used to read all the rock magazines and charts as a kid, and I was surprised when Joe Satriani’s latest album cracked the top 30 in Canada. Β “Isn’t he an instrumental guitar guy? Β Do enough people buy that stuff for it to chart?” Β Apparently they did, and even if instrumentals aren’t your thing, you have to love Joe’s big vocal single debut, “Big Bad Moon”.

Joe nailed a cool, creative music video with lots of shreddery, which immediately caught my eye. Β Joe looked like Razor Ramon before there was such a character, but cool as ice in that suit. Β Meanwhile, another Joe in a leather jacket shreds the fuck out of a beautiful silvery Ibanez. Β Putting on a gritty, Waits-ish voice, Joe slammed out a blues rocker like no blues I’d ever heard before. Β I had to get this!

Flying in a Blue DreamΒ contains only six vocal songs, but it didn’t need any more than that to become a hit. Β The instrumentals are all killer (as Joe’s usually are). Β For an album that is well over an hour, it is rare to find one so full of killer, with zero filler! Β The best way to think about Satriani songs is that they are not really instrumentals, just good songs where the lead vocal melody is performed by a guitar. Β Most of the songs on Flying share this quality. Β The title track is one such song, where the musical backbone is a good song on its own, but the lead guitar front and center is where the lead singer would normally be delivering the hooks. Β Instead, Joe delivers all the hooks with his guitar alone, and does so ably. Β This is no easy accomplishment. Β Lots of songs are in the five minute range, but don’t drag or bore.

Variety is another key quality to this album. Β “Flying” isn’t a ballad, but falls somewhere in between. Β “Can’t Slow Down” on the other hand will rip your head clean off. Β For a real ballad, check out the beautiful “I Believe”, still a favourite of mine today. Β While the diversity of the album is one of its strengths, another is the production, particularly on the guitars. Β Melty, etherial and slippery as greased mercury, Joe’s toneΒ defies imitation. Β He gets crunchy on the rhythms though, and it’s a really sweet crunch — like a Skor bar.

When instrumentalists like Joe added vocals to their arsenals, jaded music snobs would often accuse the artist of “selling out” or “going soft”. Β Nothing could be further from the truth. Β Boom, right there on track #2 (“The Mystical Potato Head Groove Thing”) is bright instrumental showcasing virtually every trick in the Book of Satch! Β Harmonics out the wazoo, sounds I can’t describe or articulate, but all done with an eye to the melody and groove of the song. Β That’s how to do it, folks. Β You want groove? Β Check out “Can’t Slow Down”, one of the blazing vocal tracks, or the headlong “One Big Rush” and “Back to Shalla-Bal”. Β You want bizarre and experimental? Β Then “Headless” and “Strange” appropriately fit the bill. Β You want mystical, exotic and avante garde…but with funk bass? Β Parts I and II of “The Bells of Lal” should do you.

Adding vocals was the coup de grΓ’ce. Those songs really elevate Flying in a Blue Dream to aΒ timeless level. Β Of them, “I Believe” is particularly special. Β It is quiet and spare, in contrast to some of the heavier moments on the album. Β Tasteful and reserved guitar melodies set the tone, and Joe sings softly of making a better tomorrow. Β His singing is remarkable actually, because though Joe is not known for his voice, he sings with the correct passion and feeling. Β In short, it all works as a package. Β Remember, it is usually Joe’s guitar that delivers the the hooks.

Flying in a Blue Β DreamΒ always seems to live in the looming shadow of its predecessor, the million selling Surfing With the Alien. Β If I had to pick a favourite, it would be Flying in a Blue Dream, every time.

5/5 stars

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REVIEW: Queensryche – Tribe (2003)

FLAMING TURDS

“Flaming Turds” artwork courtesy of SARCA at CAUGHT ME GAMING. Β Thanks Sarca!

We continue with theΒ WEEK OF FLAMING TURDS! Β We’re looking at a collection of malodorous music. Β Strike a match, you’ll need it for these stinkers! Β Today, please welcome to the stage, Mr. Geoff Tate.

Scan_20160228QUEENSRΕΈCHE – Tribe (2003 Sanctuary)

Queensryche fans have had a lot to deal with over the last 20 years. Β Uneven albums, lineup changes, framed by occasional flashes of brilliance were the norm up until recently. Β The most significantΒ obstacle was the 1997 departure of Chris DeGarmo, their chief songwriter and beloved guitarist. Β Overall burnout caused by band turmoil led DeGarmo to retire from music altogether and follow his dream of becoming a pilot. Β Later statements from the band (during their legal battle with former singer Geoff Tate) claimed outright that he left because of “Geoff Tate’s personal demeanor” with the guitarist. Β In his absence,Β Tate took over the role of primary songwriter and began leading the band. Β Their first post-DeGarmo album was 1999’s Q2k, a pretty heavy record that was largely dismissed by fans for being a departure from style and quality. Β DeGarmo’s replacement guitarist Kelly Gray was let go shortly after the Live Evolution album. Β Struggling to come up with material for another album, Queensryche called Chris DeGarmo up on the telephone. Β The guitarist softened his stance and readied himself to make a full return to the band. Β He wrote, played guitar in the studio and even took part in photo shoots. Β Fans hoped for something special that would live up to the Queensryche legacy from this reunion. Β It was not to last. Β The same old strains returned between DeGarmo and Tate, and it was over before it started.

Fandom felt the wind taken out of itsΒ sails, and eyebrows were raised at the sudden second departure. Β The releasedΒ album TribeΒ featured five co-writes from Chris DeGarmo, and one from new Queensryche guitarist Mike Stone (ex-Peter Criss), who was hired shortly after. Β Both Stone and DeGarmo receive credit as special guests. Β Upon listening, best hopes for the album were dashed. Β Tribe‘s 10 songs come off as half-baked outtakes from a better album that was Β never made. Β Some of the blame must go to the production, a flat and dry sounding affair. Β However that cannot explain the dull songs. Β It’s not all bad — “Open Your Eyes” features a damn fine, exotic sounding riff, probably contributed by DeGarmo. Β They just couldn’t construct a memorable song around it, and Tate couldn’t seem to get his singing into gear.

The sole Mike Stone co-write, “Losing Myself” is a programmed mess of samples without a song. Β The chorus sounds like an outtake from the dreary Hear in the Now Frontier album. Β Same with the acoustic “Falling Behind”, which is too bad because it’s one of the songs on which you can hear Chris DeGarmo’s playing. Β In fact, Tribe in general might be considered Hear in the Now Part II, so similar are they.

The only real quality musical moment happens on the DeGarmo co-write “Desert Dance”. Β Exotic and heavy but with an actual song built out of it, “Desert Dance” gets you moving. Β Drummer Scott Rockenfield throws a lot of percussion tricks into it, emphasizing the exotic (this is true of the album in general). Β Tate actually sounds alive on this, becoming the cheerleader of the album. Β “Desert Dance” was the only song that had me reaching for the volume knob to turn it up. Β One other decentΒ trackΒ is “Rhythm of Hope”, a co-write with Eddie Jackson and Scott Rockenfield that sounds like it was an effort to be the second “Silent Lucidity”. Β Unfortunately that moment has passed.

It’s worth noting that the only member to have a songwriting credit on every song in Geoff Tate. Β I place the blame for Tribe‘s lack of life at his feet. Β The album is only 41 minutes, but it is a long 41 minutes. Β Difficult to finish, hard to like and easy to forget, Tribe remains a chore today.

2/5 stars

REVIEW: Deep Purple – Space Vol 1 & 2 (Aachen 1970)

DEEP PURPLE – Space Vol 1 & 2 (Live in Aachen 1970) (2001 Sonic Zoom)

Over the course of the decades, Deep Purple and their official Appreciation Society have found numerous interesting live recordings to release for the fans. Β From significant moments to obscure gigs, each disc has had their own points of interest. Β It doesn’t hurt that Deep Purple never did the exact same thing twice.

This German gig from 1970 wasn’t well documented or reported on. Β Purple were on a large bill including Pink Floyd, Free, Traffic and Tyrannosaurus Rex. Β It’s possible but not known for certain that Kraftwerk may have also played that day. Β Bootleggers made sure that at least some of it was recorded. Β The released bootleg H-Bomb was one of the earliest Deep Purple live recordings available, and has been available in bootleg form since it taped. Β According to organist Jon Lord, he heard that the bootleggers sneaked in an eight track mixer inside a Volkswagon, hidden under the stage. Β When they had the chance to hear the recordings on LP, the band were actually impressed with the overall quality.

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In 2001, Sonic Zoom released the show on CD and called it Space Vol 1 & 2. Β Since the original tapes were long lost, Sonic Zoom went back to the earliest vinyl pressings, and cleaned them up, using the best sounding versions of each track.

What you get here is only four longs, but quite a long set, being well over an hour long. Β Purple opened with their instrumental “Wring That Neck”, stretched out to include lots of solos and jams. Β They tease out recognizable melodies such as “Hall of the Mountain King”, “Jingle Bells”, and a jazzy “Three Blind Mice”, disguised on rock instruments. Β Vocals were scarce that evening, perhaps because Ian Gillan was suffering from a sore throat. Β As such his vocals don’t come through as well, but they also often sound as if he’s singing into a tin can. Β Though most everything else is well recorded enough, when the vocals do happen such as on “Black Night”, they are very rough and tumble. Β Jon Lord was also known to be very hard on his Hammond, and like electric whip cracks you often hear the instrument yelping away in the background.

AACHEN

The Stones cover “Paint It, Black” is mostly another excuse to jam on something. Β 11 minutes of equipment-destroying guitar, drums, bass and organ madness is a lot for anyone to digest. Β If you dig drum solos, Ian Paice will keep you mesmerized forΒ manyΒ minutes of straight high-velocity rhythmic instructional. Β You’ll know it’s over when the other guys finally come back! Β That’s nothing, though. Β Half an hour of “Mandrake Root” awaits, one of the longest versions known. Β Ian spends a lot of it screaming, but when it’s jam time you can hear him on the congas. Β The first half of the jam is loose but at least structured. Β Lord considered this his best keyboard work that had been captured so far. Β Interestingly, part of this jam resembles a future song called “Highway Star”. Β Then,Β the second half descends into pure madness. Β  Atonal noise, feedback and electric pain dominate these 10 minutes. Β It is an endurance challenge to be sure.

It is not known for certain if any other songs were played that day, but because it was a festival it seems likely that Purple played for this hour and nothing more. Β According to the only written account of the day, PurpleΒ wonΒ over the festival crowd by powering over them. Β That much is clear from this recording.

3.5/5 stars

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REVIEW: Alice Cooper – Freedom for Frankenstein – Hits & Pieces 1984-91

Scan_20160306ALICE COOPERΒ – Freedom for Frankenstein – Hits & Pieces 1984-91 (1998 Raven, Australian import)

After a productive spurt of activity in the late 80’s and early 90’s, Alice Cooper laid low for a while. Β A fun live album called A Fistful of Alice in 1997 was his first such release in 20 years. Β There was then a long wait for the next Cooper studio album (Brutal Planet, 2000). Β In the meantime, fans got to snack on interim treats such as the Australian release, Freedom for Frankenstein.

There are already a number of compilations that cover similar periods to Freedom for Frankenstein. Β Prince of Darkness (1989) tackled the two MCA albums Constrictor (1986) and Raise Your First and Yell (1987) plus one single B-side. 1995’s Classicks summed up the Epic albums Trash (1989), Hey Stoopid (1991) and The Last Temptation (1994), with the bonus of rare live tracks from the 1989 live home video Alice Cooper Trashes the World, plus the Hendrix cover B-side “Fire”! Β With those releases already on the market, does Freedom for Frankenstein offer anything unique?

Hell yeah!

1. “I Got a Line on You”. Β Spirit wrote this one in 1968 and Alice Cooper covered it in 1988 for the Iron Eagle II soundtrack. Β Alice’s version was released as a cool music video and stands as one of his best tracks from the era. Β (You can also get this on the Life and Crimes of Alice Cooper box set.) Β Here is an easy way to get the song, a must-own for fans of 80’s Alice. Β This was our first look at Alice’s new musical direction: commercial hard rock! Β He dropped the splatter horror direction and went full-on for radio and video hits.

2. Four-count-’em-four rare live single B-sides. Β These are “Go to Hell”, “Ballad of Dwight Fry”, “Sick Things” and “Only Women Bleed/Wind Up Toy”. Β None overlap with the other two compilations. Β “Wind Up Toy” was only played on the Hey Stoopid tour.

3. “It Rained All Night”. Β It is absolutely inexplicable how this song wasn’t included on the Life and Crimes box set. Β An original Alice Cooper/Desmond Child composition, “It Rained All Night” was also too good to be just another B-side. Β It backed the single for “Hey Stoopid” but stood as a better track than some on the album. Β Perhaps it was nixed for being too ballady on an album that didn’t need any more. Β You can get it most easily now by buying the Hey Stoopid 2013 reissue…but if you get Freedom for Frankenstein instead, you won’t need that reissue at all.

By getting this, you will also acquire “Fire”, and a goodΒ number of the best songs from this period. Β “He’s Back”, “Teenage Frankenstein”, “Freedom”, “Poison”, “House of Fire”, “Hey Stoopid”, and “Feed My Frankenstein” were the big singles, all on one CD. Β Then there’s “Side Show”, the incredible opener from Alice’s 1994 concept album The Last Temptation. Β In fact, the only weakness with this CD is that there is only one song from The Last Temptation. Β Classicks has three — but none of them are “Side Show”.

Freedom for Frankenstein was compiled with the help of Andrew Carpenter, “Australia’s biggest Alice Cooper fan” and archivist. Β Full points are awarded for the interesting booklet and rarities in the tracklist. Β I think the running order could beΒ slightly tweaked for a smoother ride, but at over 78 minutes long, these hits and pieces provide value for your bucks.

4/5 stars

REVIEW: House of Lords – House of Lords (1988)

HOUSE OF LORDS – House of Lords (1988 Simmons Records/BMG)

Yes you read that correctly. Simmons Records. Did they ever put out anything decent?

House of Lords actually made a hell of a debut with Simmons Records in 1988. Nobody was calling them a “supergroup”, but most of the members had been around the block more than once. House of Lords evolved out of Giuffria, a pretty good AOR rock band featuring the keyboard stylings of Greg Giuffria. In fact there are several songwriting credits by ex-Giuffria singer David Glen Isley, giving clues to the genesis of this CD.

Lanny Cordola played guitar on the prior Giuffria LP, and continued on to House of Lords. Bassist Chuck Wright had a stint in Quiet Riot (in fact he’s back with them today). Drummer Ken Mary kept time during Alice Cooper’s metal phase. All they needed was a singer, and they found a great one in James Christian, who today is the sole remaining original member of House of Lords. They signed to Gene Simmons’ imprint, and got legendary producer Andy Johns behind the mixing desk. All the ingredients were in place.

MuchMusic were promoting the shit out of these guys, and so I dutifully picked up the cassette at A&A Records and Tapes in the fall of 1988.

The self-titled debut, though classy, didn’t have enough identity. Good songs throughout, no clunkers, but also nothing that identified House of Lords as something unique. And so, this great CD has remained largely unknown over the years.

The keyboard heavy opening on “Pleasure Palace” has less to do with Bon Jovi and more to do with the progressive rock bands of the 70’s. The production is pure 80’s, with the echoey drums and the hard to hear bass. It is what it is, and Andy Johns did a better job than most producers could have done in ’88. James Christian comes across as a full-lunged, well rounded singer. He’s able to sing with a little of blue eyed soul, and he’s capable of the screams too. The feature that actually sets the song apart is the keyboards, very gothic and European sounding, but not wimpy.

“I Wanna Be Loved” was the first single/video, an easy choice being mid-tempo with a shout-along chorus. “Oh woah, oh woah, I just wanna be loved!” Sure, sounded good to 16 year old me. Heaps of backing vocals thicken up the mix, and Lanny Cordola plays a tasteful albeit standard guitar solo on top. “Edge of Your Life” serves as a keyboard power-ballad, and a dramatic one at that. The musicianship is stellar and the arrangement is expert, but the standout performer is James Christian.

Since you need a bar room blaster for the dudes, “Lookin’ For Strange” fits the bill. Instruments aflame, and with obvious inspiration from the Van Halen shuffle of old, “Lookin’ For Strange” is nonetheless a ton ‘o fun. Ending the first side of the tape was “Love Don’t Lie”, another power ballad, this one a bit on the soft side. It was also edited down and remixed by David Thoener for a single release. This mix was used for the music video and can be found on reissues of the CD. The album version is the better of the two, since edits often sound…awkward.

Rock and roll resumes with “Slip of the Tongue”, a title that David Coverdale would use a year later. High octane, full speed ahead, this is House of Lords doing the shred. The musicianship speaks for itself and you can hear clear Whitesnake and Thin Lizzy influences. The fast pace sets up “Hearts of the World” very well via contrast. From here, the album becomes more progressive, dramatic, and bombastic. “Hearts of the World” is AOR perfection, choppy with caverns of keyboards and waterfalls of gang vocals. It all sounds so serious, but it’s hard to deny the quality of this song. “Under Blue Skies” follow this with bagpipes (!) and ELP-like keyboard horns. It’s another dramatic, melodic winner with progressive qualities. The outro has those “na na na na na” vocals that all but guarantee you’ll be singing along. “Call My Name” makes it three in a row, though it changes the forecast to sunny. Bright and positive, “Call My Name” is still a big sounding song, with the gang vocals and guitar shreddery that you’ve come to expect.

Cordola gets the chance to show a lil’ bit (a minute) of classical guitar chops as an intro to “Jealous Heart”, the last of 10 tracks. This is your typical album-ending breakup ballad: weepy hearts, melodramatic lyrics, powerhouse vocals…it’s a dead ringer for Journey! Good Journey, though. Since Journey were defunct in 1988, let’s forgive House of Lords for a little hero worship.

House of Lords is a good debut album. Is it great? I would have said so back in ’88 or ’89, but the production has caused it to age, not so well. That’s unfortunate because what House of Lords put out here was pretty remarkable hard rock.

4/5 stars

REVIEW: Evilyn Strange – Evilution (2016 EP)

NEW RELEASE

Scan_20160301EVILYN STRANGE – Evilution (2016 limited edition promo EP)

Well alright alright alright! Β 2016 has been a stinky year so far with the winter “blahs” and far too many musical deaths. Β It’s time for something new and something positive. Β Thankfully the trio Evilyn Strange have picked this time to return with their new EP, Evilution.

I like a sense of continuity in cover art, and lead singer Phillip Strange is responsible for this one. Β I like that you can immediately tell it’s the same band. Β With the last album, Mourning Phoebe, I couldn’t quite tell what kind of music I was going to find inside. Β Evilution on the other hand looks like rock and roll and nothing but. Β Are you ready to be slain?

I was surprised by the heaviness and speed of the opening track “Let It Rain”. Β Great riff, great vocal melody, and tasteful use of backing keyboards — I get a sense of 80’s metal meeting the modern age, and I like that just fine. Β In particular it’s the menacing double bass of “The Ghost” (drums/keys) that drives the song into your skull. Β Once it’s in there, it ain’t coming out.

“Invisible Man” grooves rather than thrashes, but again the tasteful backing keyboard adds nice accents and moods. Β Phillip kicks ass on this vocal, imbuing the song with melancholy power. Β Throw on a smoking solo by Mikael Johannesson and step back because this baby explodes! Β I can’t say who this song reminds me of. Β It has elements of lots of bands that I enjoy, from Sabbath to Whitesnake. Β But “Storm Clouds” is thrash metal, pure and simple. Β I can’t find a more appropriate tag. Β The Ghost’s slamming on it, while Mikael riffs away faster than I can headbang. Β The only thing unlike thrash metal is Phillip’s singing, always melodic. Β This is challenging, impressive stuff — maybe a bit too busy? Β It packs more into one song than most hard rock bands put into an entire side.

More Strange-like is “Never”, a powerful metal ballad. Β Phillip injects the song with the required angst and there’s even a hint of some bluesy slide guitar. Β A proper soft ballad ends the EP on a dramatic note. Β This song “Stay” couldn’t be more different from “Storm Clouds”, only two songs prior. Β Somehow it all works as a fairly cohesive EP. Β That’s the vocals of Phillip Strange holding it together, I think, tying the songs.

Evilyn Strange named this EP appropriately. Β They are evolving, as all bands must. Β That they took such a strong lean on old, classic thrash and metal influences was a delightful surprise to me. Β I didn’t see that one coming. Β But much like evolution in the biological world, old traits still remain. Β These are the memorable riffs, melodies and musical themes. Β What’s very interesting however is that Evilyn Strange have a full-length album coming later this year, and it’s entirely new material. Β Can we expect another evolution? Β I think it’s possible….

Check out Evilyn Strange at evilynstrange.co.uk, where you can buy this limited edition CD for a piddly Β£3.99. Β Click the link on their page if you prefer iTunes. Β Do what you need to get this in your ears!

4.5/5 stars

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For Aaron‘s review at KeepsMeAlive, click here!

For Jon‘s review at e-tainment reviews, click here!

REVIEW: Big House – Big House (1991 BMG)

STRAT

Thanks for joining us forΒ Canadian Rawk Week!

 

BIG HOUSE – Big House (1991 BMG)Β Not to be confused with the country band also called Big House.

BIG HOUSEBig House hit the ground running out of Edmonton, Alberta in 1991, but it was hard to take them seriously at the time. Β The hair and headbands were pretty silly, and they had annoying song titles such as “Refuse 2 Run” and “Nothing Comes 4 Free”. Β I acknowledged they had a pretty cool single “Dollar in My Pocket (Pretty Things)”. Β This was lifted from a prior EP called Pretty Things, very hard to find. Β They also claimed to be former punk rockers. Β Drummer Sjor (pronounced Shore) Throndson once stated that the band used to have mohawks when they were teenagers, but shaved them off and had a change of musical direction. Β With that, the silly hair and the dumb name, it was pretty easy to ignore Big House.

Then a co-worker at the Record Store named Kam talked me into listening to it. Β The year was 2005 and my feelings quickly turned from indifference to delight. Β Big House, for all their flaws, were actually pretty good! Β Every song on this album has swagger. ItΒ doesn’t sound like a debut album at all, and perhaps that’s due to the experience of having done a prior EP. The band, and singer Jan Ek in particular, make this sound like a second or third album.

“Dollar in My Pocket” made for a good first single, but what a cheesey video. I still cringe at the 30 second mark, when Sjor glances flirtingly down towards his pants on the line, “I got a dollar in my pocket for you.” Fortunately, just a taste of their punk background shine through in the melodies, making this song a bit more unique than the crowd in 1991. Jan Ek has a good scream going on, and lungs of power. They had a knack for writing catchy guitar licks like the one in “Dollar in My Pocket”. The song is all about attitude, so “come along, you can have it if you want it, baby.”

The first chunk of the CD was top-loaded with singles. “All Nite” was a minor hit, a Motley-Poison mixture of rock thrills. Generic, but with that knack for melody once again, not to mention the leathery lungs of Jan Ek. Those two factors elevate the song beyond the morass of crap swimming in the seas of cheese in 1991. Another decent rocker, the Kiss-like “Refuse 2 Run” stays the course before you’re up for the next single, the ballad “Baby Doll”. Generic acoustic sentimental tacky stuff is this, but why do I like it? Maybe that quiet moaning slide guitar? Sounds a lot like Cinderella. Truthfully it’s not bad, but it’s really not that different from any of a hundred ballads. Thankfully “Can’t Cry Anymore” has some noisy guitar and plenty of attitude, especially in the punk rock blowout ending. Once again, it’s remarkable what a handle Big House had on writing great rock melodies. “Can’t Cry Anymore” is one of many on this disc.

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“Devil’s Road” sounds like the opening of a second side, and a strong opening it is. “So make the music faster, for the spells we’re castin'” sings Jan Ek on the fine choruses. None of these songs are particularly fast, but they all rock in one way or another. For example “Nothing Comes 4 Free” is slow, but has a menacing vibe and the requisite hooks on the chorus. The closest they get to filler is “Happiness” but even that is not bad. It’s an unusual cross of pop melody with classic rock guitars — Cheap Trick meets Kiss, perhaps?

Final track “Angel on My Arm” is a celebratory tough little rocker, but the penultimate track “L.A.” is my favourite of them all. It seems Mr. Ek’s girl has left to go to L.A. and a be big movie star, and isn’t coming back. But then Jan gets a long distance call from L.A. It seems she mis-dialed and got Jan when she expected to get “Jack”. Β He responds incredulously, “Jack who?! Jack Palance? Jack Nicholson? Jack…Jack who?!” It’s great fun! Listen to that bouncy bass. That’s pop punk, baby. So are those unabashed “la-la-la-la” pop hooks. Just a killer, instantly likeable fun song is this. “I been drinkin’ with every damn girl in town,” sings Ek after the disappointing phone call. “If I seem a bit too forlorn, I’ve been loving her too long.” People, I’m serious: This song is a triumph of songwriting and execution. You are free to disagree, but all I know is that I have played this song on repeat countless times. In fact I’m doing it now. I’m already on spin #3 for this session.

Silly name and album cover aside, I suppose it all works as a package. It’s no wonder the band never made it big with a cover this horrible; imagine my shock when I saw that it was done by none other than Hugh Syme, master of many Rush records. And this faceless cover conceals within it one of the best hard rock albums of the era. Sadly that era died before Big House could make a second album, but let’s celebrate that we have this one. Just like we are glad for the first two Skid Row albums, or New Jersey by Bon Jovi, I’m happy now to have Big House in my, err, house.

4.5/5 stars

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REVIEW: Helix – Vagabond Bones (2009)

STRAT

Welcome back toΒ Canadian Rawk Week!

Scan_20160210HELIX – Vagabond Bones (2009 Universal)

2009 was an exciting time to be a Helix fan. Β 15-odd years of rotating lineups kept the band alive and in the clubs, but it was hard to grow attached to any band members when they only stayed for a couple years and were off elsewhere. Β Helix main man Brian Vollmer had always maintained strong ties with former members, and guys like Brent Doerner often showed up on albums, or in the audience at local Helix shows. Β It was still a surprise when Doerner, drummer Greg “Fritz” Hinz, and bassist Daryl Gray all returned to the Helix lineup. Β This completed the classic 80’s version of the band, or at least the surviving members thereof. Β Paul Hackman was killed in 1993 in a tragic auto accident. Β Replacing him in the lineup was Kaleb “Duckman” Duck, who had previouslyΒ worked with Brent.

Vollmer was working on a new album (originally called It’s Rock Science, NOT Rocket Science!), writing with his partners Sean Kelly and Moe Berg (The Pursuit of Happiness). Β  The final product entitled Vagabond Bones has a variety of different players on it. Β Former Helix members Brent “Ned” Niemi and Rob MacEachern play drums, and guitar maestro Kelly (also briefly a Helix member) contributed toΒ guitar and bass. Β Also on the CD isΒ Steve Georgakopoulos who played on a few past Helix albums. Β You’d think it would be a case of “too many cooks” in the kitchen. Β That’s not the case; Vollmer and Co. brewed a potent mixture of songs, with all the attitude and quality that you have come to expect from this band.

Immediately you’re hit over the head by the slick production work by Vollmer, Kelly and Aaron Murray. “The Animal Inside (Won’t Be Denied)” has the stamps of both Helix and Sean Kelly all over it,Β from the absurdly catchy chorus to the shredding solos. Vollmer sings powerfully, but his voice has so much depth character from years of training and road work. Β Very few singers from the 70’s still sound the same, but Brian Vollmer is damn close! Β “Go Hard or Go Home” has another powerful chorus, plus great catchy riff, and fun lyrics. Β “Go hard, or go home, take your little whiny candy ass and go.” Β Considering all thatΒ HelixΒ has been through,Β Vollmer surely knows only the strong survive. Β “No short cuts, no sweet deals,” he sings and he knows it! Β The title track “Vagabond Bones” makes it three great songs in a row. It’s an instantly likeable good time hard rock boogie.

Helix really developed a knack for melody as they grew. One of the most pop moments is “Monday Morning Meltdown”, a song that Brian compared to Cheap Trick in terms of style. Β You can hear it in the choruses, but it’s just a great pop rock song with another great Sean Kelly riff holding down the fort.Β Β Very different for Helix, and very good.

Onto aΒ fast vintage Van Halen style shuffle, “When The Bitter’s Got The Better Of You” is the fifth straight up great song in a row. Β It too is very different for Helix. Β It continues a theme of “down on your luck” songs, but always with a message to keep on givin’ ‘er. Β That holds true on “Hung Over But Still Hanging In”, a sleeze rock duet with Russ Dwarf of Killer Dwarfs. Β If you need a hard rockingΒ party song, then this is what youΒ want. It has the groove, the fun, and the lyrics so just hoist them wobbly-pops and rock on!

My personal favourite song has always been “Best Mistake I Never Made”. It has a classic 70’s rock aura, an acoustic guitar, and if I had to compare it to something else it would be Helix’sΒ excellentΒ 1992 single “That Day Is Gonna Come”. Β That’s a trip down memory lane that I don’t mind taking. Β “Make ‘Em Dance” is a fast stomper with a beat that strikes me as almost Disco. Β It just rages though, I wouldn’t try dancing to it until you want to break your neck!

Ending the album on a funky rock vibe is “Jack it Up”. This is a really interesting song, because I used to hate it. You may have to let it grow on you because, like much of this album, it’s forging new territory for Helix. It’s still great party rock, but just a little laid back.

With sharp production, Vagabond Bones was certainly the best sounding Helix album, and the best overall in many a year. And that’s saying something, because 2007’s The Power Of Rock And Roll was very, very strong. Β Hearing this album for the first time, I just smiled. Β I had to. Β Helix were back and pretty much better than ever.

5/5 stars

REVIEW: Alice Cooper – Prince of Darkness (1989)

ALICE COOPER –Β Prince of Darkness (1989 MCA)

Even though Alice hadn’t produced anything as timeless as “School’s Out” during his 1980’s comeback, his profile rose greatly. Β Clean, sober and focused, Alice Cooper was very active in the last part of the decade. Β The same year as his final MCA album Raise Your Fist and Yell, he hadΒ memorable appearance at Wrestlemania III. Β In the corner of “good guy” Jake the Snake Roberts, Cooper had the honour of draping Roberts’ snake named Damien all over the Honky Tonk Man. Β After that, even my dad knew who Alice Cooper was.

Cooper only had a two record deal with MCA: Β Constrictor was the first in ’86; also the first album in the comeback period. Β Having re-established himself with MCA, Alice then signed with Epic and had a genuine smash success with 1989’s Trash. Β With a dream team of writers and collaborators (including hitsmiths Desmond Child, Jon Bon Jovi, Richie Sambora, Steven Tyler, Joe Perry and many more), Alice scored a platinum album.

WhileΒ TrashΒ was still charting and producing singles, MCA put out a competing record: Β Prince of Darkness, a 10 track compilation of Cooper’s material for that label. Β Normally these kinds of releases are throw-aways, but Prince of Darkness is not and thisΒ review will tell you all about it.

It is not unfair to state that Constrictor and Raise Your First were mixed affairs. Β You had to wade through a significant amount of filler to reach a disproportionate amount of modern classics. Β Prince of Darkness does a great service by collecting some of the best material together on one CD. Β It is well sequenced and even includes one rare track, an exclusive on compact disc.

A grand opening is the dark and metallic “Prince of Darkness”, a theme song from a movie of the same name. Β ThisΒ ominous and menacing track is one of theΒ more memorable from this era, a heavy monument. Β It works amazingly well as an opening track, and “Roses on White Lace” follows by going faster and heavier. Β It was surprising to hear Alice creep this close to thrash metal, but what a track! Β A distorted vocal adds to the creep factor, making this one of the better samples of Cooper’s music during his “splatter horror” period. Β The 1986 single “Teenage Frankenstein” would be a must-own for any fan, and there it is in the #3 position. Β The big single from this era was “He’s Back (The Man Behind the Mask)”, a synthpop classic quite unlike the prior metal material. Β Right here is an easy and simple way to get this classic track, without having to buy Constrictor. Β Same with “Teenage Frankenstein”.

A nice little track here is a 1976 live recording of “Billion Dollar Babies”! Β This was a B-side from the “He’s Back (The Man Behind the Mask)” single, but Prince of Darkness is the only CD with it. Β The track itself sounds heavily remixed (remixing is credited to Garth Richardson) but it is indeed a B-side that is easy to acquire by getting this disc. Β Ignore the annoying, screaming overdubbed crowd and just dig the vintage performance of one of Alice Cooper’s most timeless numbers.

There are a few filler tracks on side two. Β “Lock Me Up” was fun, but not particularly memorable. Β Feel free to skip “Simple Disobedience” and “Thrill My Gorilla”, and go straight to “Life and Death of the Party”. Β Alice steps back into the shadows for a chilling horror number, mid-tempo and overcast. Β We are over and out with “Freedom”, another great single and dangerously close to thrash metal again. Β Prince of Darkness serves as the most effective way to get this one.

That’s why I recommendΒ Prince of Darkness to any fan who wants to get a slice of Alice in the late 80’s — but just a slice. Β The whole cake is for diehards.

4/5 stars
COOPER

REVIEW: Warrant – The Best of Warrant (1996)

WARRANT –Β The Best of Warrant (1996 Sony)

Whooboy. Β Look, I’m sure Warrant are a nice bunch of guys, and poor Jani sure suffered his demons. Β I’ve always considered Warrant a bit of a jokey band, and that was certainly true for the first two albums. Β Even when I did love ’em (that would be August and September of 1989), I always sensed that they weren’t taking anything very seriously. Β  I had their live video, Dirty Rotten Filthy Stinking Rich – Live. Lemme tell ya, they were just too jokey and inconsistent live. I outgrew Warrant pretty fast. Which in a way was too bad, because the next album after our “breakup” was the critically acclaimed third recordΒ Dog Eat Dog.

All this being said, their first Best Of (1996) was actually a reasonably solid collection of songs, if a bit long at 57 minutes. Β You get the three big hits from album #1, including “Down Boys”, “Sometimes She Cries”, and “Heaven”. Β Decent also-rans from that album include “32 Pennies” and “Big Talk”. Β Nothing but pure stink is “D.R.F.S.R.”, a song I never understood the popularity of among Warrant fans. Β I guess the joke is still funny to some?

Album #2, Cherry Pie, was a mixed bag like its predecessor. Β The title track of course was the biggest steaming pile of crap released by a rock band in the year 1990. Β Having said that, there is video evidence of a young LeBrain rocking out to it, but I didn’t really know what Jani was singing about! Β We all have our musical skeletons in our closets, I believe. Β Mine is that there is a VHS tapeΒ in my house right now with footage of me, age 18, lip synching to “Cherry Pie”. Β I cannot lie about that.

Cherry Pie didn’t suck all the way through, however. Β It was a step up in sound, and boasted some cool tunes. Β “Uncle Tom’s Cabin” is the one Warrant song that really still stands up today as a great single. Β “Mr. Rainmaker” is also a pretty memorable rocker, with chorus built to please. Β I like that they included two single B-sides on this set. Β The pop rockΒ track “Thin Disguise” was always better than most of the album tracks. Β Perhaps it was too middle of the road? Β Not quite ballad, not quite rocker, but pretty classy nonetheless. Β And please note, “classy” is not a word often used to describe a Warrant song. Β The other B-side was the acoustic version of “I Saw Red”, which was actually released as its own music video.

Things seemed to get most interesting with Warrant on their third album. Β By 1992, Warrant were absolutely buried by the new wave of grunge rock bands that swept in between their albums. Β  They were also playing catch-up with the biggest metal albums of the period, Metallica and Slave to the Grind (Skid Row). Β These high-charting smash hits were much heavier than Warrant’s general output. Β They had to heavy up; they really had no choice. Β They started wearing Doc Marten boots and growing facial stubble. Β It all seemed so very contrived, and according to Jani Lane, it was. Β Even though he was the soul songwriter, he later claimed to strongly dislike the new heavier direction Warrant took. Β He quit Warrant briefly after this album to explore mellower Mellencamp-esque songs and ballads. Β It was all very shocking and confusing, considering that Warrant’sΒ heavy and choppyΒ single “Machine Gun” was so fucking awesome. Β Not that it mattered. Β Nobody but die-hards were listening to Warrant in 1992. Β I only ever saw the video for “Machine Gun” on TV once. Β Once! Β Compare that to the mega-exposure that “Heaven” and “I Saw Red” once had.

What Sony should have done with this CD is end it there. Β But no, they tacked on one more useless song at the end, the horrendously putrid cover of “We Will Rock You”. Β This was done for a really early Cuba Gooding Jr. movie called Gladiator. Β Warrant actually had two songs on the soundtrack, but this one was released as a single. Β In my opinion, if you choose to cover “We Will Rock You”, then you are doomed. Β Warrant were doomed before they even set foot in a recording studio.

Overall, not a bad little Best Of. Β You get the requisite non-album tracks, and they are generally good (“We Will Rock You” being the big exception). Β All the big songs are included. Β You have to wade through a little bit of poo, but otherwise The Best of Warrant is pretty solid.

3.5/5 stars