heavy metal

REVIEW: Kick Axe – Welcome to the Club (1985, 2016 remaster) – Kick Axe series Part Five

Part Five of a series on classic KICK AXE!

KICK AXE – Welcome to the Club (1985, 2016 Rock Candy collector’s edition)

Kick Axe may have had a slight identity issue.

They certainly didn’t benefit at all when two of their songs (“Hunger” and “Nothing’s Gonna Stand In Our Way”) were released under another name on The Transformers soundtrack.  Nobody knew that “Spectre General” was in fact Kick Axe.  Unicron may have been defeated, and Rodimus named as the next Prime, but Kick Axe didn’t gather any of the spoils.  There’s also the issue of their critical second album.  Vices was clearly a metal album and the band had an obviously heavy image, complete with toothy mascot.  When the second album saw its release, the mascot was gone and the lead video was a ballad!

The twist in the tale is that Welcome to the Club is considered by many fans to be Kick Axe’s best album; and they may be right.

The record label Pasha was trying to steer Kick Axe in a lighter direction.  Producer Spencer Proffer couldn’t be there, so staffer Randy Bishop was sent to Toronto to write and record the next album with the band.  They did this at the legendary Metalworks, and then the album was sent to Proffer in California to mix.  You’d expect this kind of operation to be detrimental to the music.  You’d be wrong.

The songs are tighter than those on Vices.  Yes, opener “Welcome to the Club” lacks the full-fisted punch of “Heavy Metal Shuffle”, but they are traded in for a dusky, cleaner vibe.  This is an older, wiser band and the lyrics reflect that.  “If you’ve had your share of heartache…welcome to the club.”  The drums are still thunder on tape, and George Criston could bellow like few others, so the “softening” of Kick Axe was actually quite minor.

“Feels Good – Don’t Stop” lets the bass lead the way, for a bangin’ chorus that any band would have given their nuts to write.  Another flawess chorus is found on the powerful “Comin’ After You”, which may in fact be the perfect 1985 hard rock song.  Softer verses build up to the kick of the first chorus, with backing keyboards providing unobtrusive texture.  “Make Your Move” is another expertly written rock song, something like Bon Jovi circa 7800° Fahrenheit.  Did Sambora spend time studying this album?  Then a dramatic “Never Let Go” has a creeping, dark vibe that makes one wonder just what Black Sabbath would have sounded like with George Criston on lead vocals.  When Ian Gillan left to join Deep Purple, Criston was one of the singers that Tony Iommi was very interested in.  This song is a glimpse into what that might have sounded like.

The side two kick-off, “Hellraisers” is a cold steel classic.  A signature guitar lick and a chorus plumbed straight from the most melodic depths of hell is all it takes.  Well, the solo cooks pretty hot too.  “Hellraisers” is most likely the best tune on Welcome to the Club, which goes a long way to making it the best Kick Axe song, period.  By the next track, “Can’t Take It With You”, Kick Axe discovered a time machine and somehow came up with a cool wah-wah riff right out the 2000s.  There is no way we’ll ever know for sure, but it’s not out of the question that this riff was lifted by time travel from John Norum of Europe during the sessions for Start From the Dark.

Anyone who felt Welcome to the Club underdelivered in terms of heavy metal probably thought “Too Loud…Too Old” was the best song.  Heavy groove and speed co-mingle, and the result is one of the heaviest hard rock tracks in the history of the genre.  “Feel the Power” dials it back in terms of heavy, but is no slouch of a track, not with all those Brian Gillstrom drumquakes.  Guitarists Larry Gillstrom and Ray Harvey had a knack for harmony guitar solos, as heard on “Feel the Power”.  Not to mention the capable backing vocals by the entire band, rounded out by Victor Langen on bass.

The oddball ballad goes last, and it really is a surprising one.  Continuing a tradition that would follow through on all their albums, Kick Axe did a cover.  This time it’s the Beatles’ “With A Little Help From My Friends”, but via the Joe Cocker arrangement.  The good news:  George Criston was more than capable of handling the difficult song without sounding like an asshole.  Not an easy task!  He is accompanied by Canadian stars like Alfie Zappacosta, Lee Aaron, Rik Emmett, and Andy Curran which gives the song some authenticity and serious star power.  Lee Aaron in particularly kicks the song right in the nuts when she steps up to the microphone.

It was this track that was chosen as the lead video, and immediately confused all the kids sitting at home watching MuchMusic.  This was the “On the Road to Rock” band, clearly, but they didn’t sound like that anymore.  The music video almost looked like a charity single, with everybody singing together in the studio.  We didn’t know what to make of it, and the clever but tame Hugh Syme cover artwork really didn’t speak like Vices did.

It is always a shame when a great album by a deserving band gets ignored.  Thanks to Rock Candy and their awesome CD reissues, it’s not too late to get into the Club.

5/5 stars

REVIEW: Kick Axe as “Spectre General” – The Transformers soundtrack (1986) – Kick Axe series Part Four

KICK AXE as SPECTRE GENERAL – “Hunger” and “Nothing’s Gonna Stand In Our Way”
from Transformers: The Movie original motion picture soundtrack (1986 BMG)

Although the recordings were not released until 1986, it makes sense to talk about “Hunger” and “Nothing’s Gonna Stand In Our Way” now, in terms of storytelling.  After the Vices album was completed in 1984, Kick Axe were tasked to contribute to another project.  And it wasn’t a movie soundtrack.

Producer Spencer Proffer was scheduled to go into the studio with Black Sabbath — a Black Sabbath still fronted by Ian Gillan, though not for long.  Proffer felt that Sabbath needed fresh ideas and recruited Kick Axe to write some.  Though details are murky, we do know that Gillan left Black Sabbath abruptly to record Perfect Strangers with Deep Purple.  Kick Axe frontman George Criston was one of the singers that Tony Iommi was interested in as his replacement.  Whatever happened, no recordings of Sabbath with Criston have surfaced, but we do have the songs Kick Axe wrote for the sessions.

In a strange coincidence, they all first came out on November 9 1985, on two separate albums.  W.A.S.P.’s The Last Command (produced by Proffer) featured the Quiet Riot-like “Running Wild in the Streets”, though without proper writing credit.  Another album produced by Proffer was released the same day:  Ready to Strike by King Kobra.  “Piece of the Rock” and hit single “Hunger” were written by Kick Axe for the Sabbath project.

Ultimately, “Hunger” by Kick Axe did finally come out in the summer of 1986.  Too late, perhaps, considering people assumed it was a generic cover of a King Kobra song.  Especially since no one had ever heard of…Spectre General?

Who the hell is Spectre General?!

For reasons unknown but said to be contractual, Kick Axe couldn’t release their own song under their own name, so Proffer invented Spectre General, and that’s how they’re credited in Transformers: The Movie.  The band didn’t even know about it.  They had two songs on the original 10 track album:  “Hunger”, and a new song called “Nothing’s Gonna Stand In Our Way”, a cover version (John Farnham original) intended for the next record Welcome to the Club.

Perhaps it’s the familiarity of the King Kobra recording, but this version of “Hunger” does stand in its shadow.  Both Mark (Marcie) Free and George Criston are stellar vocalists, and the Free version just had more…weight.  Kick Axe’s original is heavier and chunkier, so perhaps in that way it’s actually superior.  “Nothing’s Gonna Stand in Our Way” is an upbeat number, hook-laden, with the trademark Kick Axe “chug” and backing vocals.  It’s pretty essential to have both these tracks to augment a Kick Axe collection.

Besides not getting their real name in the album, other contributions by Weird Al Yankovic and Stan Bush were featured more prominently in the movie than the two “Spectre General” songs.  The band Lion got to do the movie theme song.  Those were some memorable movie moments to any kid in the theater, particularly the Stan Bush selections.

It’s pretty amazing that Kick Axe came up with “Hunger” but were never really recognized for it.  It’s a great song and their original version of it is the proof.  Also strong, “Nothing’s Gonna Stand in Our Way” would have made a fine addition to the next album.  Clearly, the Canadian quintet had big league talent the whole time.

4.5/5 stars

REVIEW: Kick Axe – Vices (1984, 2016 remaster) – Kick Axe series Part Three

Part Three of a series on classic KICK AXE!

KICK AXE – Vices (1984, 2016 Rock Candy collector’s edition)

The loud Canadian quintet from Saskatchewan, Kick Axe, went from indi to major label in 1983 when they signed with CBS Canada.  They also had a new singer in George Criston, a guy with incredible range and rock sensibilities.  Everything was in place.  With a couple solid metal releases already under their belts, they were about to go big league.  The next step after the record deal was a hookup with the American producer behind Quiet Riot, Spencer Proffer.  Spencer offered them the chance to write with him and record in his own studio, Pasha.  They would have been foolish to turn down the opportunity considering what happened with Quiet Riot in similar circumstances.

In fact, Kick Axe’s debut album Vices is so similar to Metal Health, you probably could have heard it was Spender Proffer at the desk without reading the credits.  The drum sound is exactly identical to that of Frankie Banali.  The backing vocal arrangements are also very similar, even though the singers are different.  The comparisons go further, but we’ll discuss them as we go.

“Heavy Metal Shuffle” sounds immediately like, who else, Quiet Riot!  That is until George Criston starts croonin’.  What a set of pipes on that man.  He could scream with the best, but there’s more to Criston than just high notes.  There’s a blue-eyed soulful trill in his screechin’, hard to pinpoint but there nonetheless.  Another part of the Kick Axe sound is bassist Victor Langen, who has a solid metal chunk but with creative, busy melodic accents.  Of course another major factor is the capable backing singers.  Langen, Ray Harvey, and brothers Brian and Larry Gillstrom created an 80s tapestry of metal harmony.  This is especially apparent on title track “Vices”.  It’s a pretty irresistible song even if it sounds exactly like the year 1984.  At least how I remember it sounding.  Big, echoey, mushy, loud!

By the third track, “Stay On Top”, we’re really cookin’.  You might cringe at the clichés, like the gang vocals or the big drum fills, or you could just chill out and rock with it.  Ballad “Dreaming About You” pours on the rock standards, but the problem is…it’s good.  It’s a great 80s ballad.  Helix could have done it.  Great White could have done it.  Dozens of bands had songs like this, but at least Kick Axe wrote a good one.  Up next, “Maneater” opens with some ferocious guitar wang-dang, although the song is more a slick rocker than a headbanger.  It’s the chorus that differentiates it from the average.

When side two opens with the “big hit”, hopefully you’ll say “Oh yeah, I remember this one!”  The memorable music video for “On the Road to Rock” introduced Kick Axe to a much larger audience.  Listen to that chug!  Langen had a killer sound, even with that huge axe bass that quickly became a symbol for the band.  “On the Road to Rock” delivered an anthem the kids could get behind.  The video also turned their cover art of the “Vices Guy” into a fully-fledged mascot.

My buddy Bob Schipper loved the music video.  Especially when “Vices Guy” yells “Stop that you wimp!” at one of the legendary composers.  Me, I liked that bass. I also liked that the drummer was a virtual hulk, who kicks down not one but two doors in the video. I didn’t understand why the singer was running around in bare feet.  You’re gonna stub a toe, or step on some door shrapnel, guy.

Next up, “Cause For Alarm” sounds at first exactly like the song “We Were Born to Rock” by Quiet Riot.  It soon becomes its own beast with a thunderous chorus.  Yep, Kick Axe could write a chorus.  They could also execute them via those thick backing vocals and the golden Criston pipes.  The tempo takes a step back into the pocket on “Alive & Kickin'”.  It’s another one of those choruses that the boys seemed to have an endless supply of, although a bit too heavy on the backing vocals this time.  Langen really lets the bass groove on “All the Right Moves”, boasting one of those shout-choruses that are perfect for the live concert setting.  It’s the kind of song Motley Crue would have given their nuts to be able to write at that time.

The final song on the standard album was a song with a certain epic “closing” quality.  “Just Passing Through” makes it sound like the album just might have been a concept record on the theme of vices.  Indeed, Spencer thought of it as such: “Living in our vices, we watch the rise and fall,” repeating some words from the title track.  Regardless, it just sounds like an album closer.  There’s a certain climactic quality to the melody and riff.

On CD (and strangely enough, also the original Canadian cassette) is the bonus track “30 Days in the Hole”, starting a custom of Kick Axe putting a cover song on every album.  Spencer Proffer wanted to do it, since he had so much success with “Cum On Feel the Noize” earlier with Quiet Riot.  It’s not the best version of “30 Days” that you’ve ever heard.  It sure does sound like they’re playing the same amps as Carlos Cavazo, though.

As per usual, Rock Candy deserve extra thanks for the brilliant liner notes featuring interviews with Proffer and Langen.  Also for including the bonus track, though we often take those for granted these days.  Of course, Kick Axe deserve the lion’s share, for writing and performing a “kick ass” Kick Axe debut.  Not an easy thing to accomplish, but with Proffer they had a good team.  It shouldn’t overshadow their innate talents, of course.

The proof of Kick Axe’s talent was their progression, album to album.  There were also some misadventures with Black Sabbath and giant transforming robots, but we’ll get there.  Vices would be a fine Kick Axe album to satisfy your curiosity, but be prepared to get hooked and want to go deeper.

4.5/5 stars

#773: Rock Candy + Internet = Kick Axe!

GETTING MORE TALE #773: Rock Candy + Internet = Kick Axe!

Like many things, it started with a story.

I have liked the music of Kick Axe since I first heard them back in 1984.  “On the Road to Rock” was a Power Hour (not yet the Pepsi Power Hour) staple.  I knew the video off by heart.  A Vices button was among the first handful I owned.  I think it was a birthday gift from my best friend Bob.  As it turns out, I never got the album, or any Kick Axe for that matter, until now.  So how did it turn out that I’m doing this Kick Axe review series?

I. ENCORE

In July, I scored two Kick Axe remastered CDs by Rock Candy records.  This occurred at the best Record Store in town, Encore, who had both Vices and Welcome to the Club in stock.  I had been looking for these in Toronto (“Taranna”) for years.  No luck.  The Encore visit was my first time finding them in store.  Vices has a bonus track.  I always intended to get the Rock Candy version for that reason.  Aaron and I found Kick Axe vinyl in Taranna before, but I was holding out.  The bonus track made the Rock Candy reissue my preferred version.

II. ROCK CANDY

Another thing about Rock Candy:  the liner notes are, shall we say, goddamn essential.  Featuring original interviews, untold stories, and assorted documented details, you will absolutely learn something from the liner notes in a Rock Candy CD.  One thing I learned before even opening the booklet was that the third Kick Axe album was also available from Rock Candy.  Already having the first two, it seemed dumb not to get the third.  Especially since the liner notes said that Rock the World was, in some regards, their strongest album.  As I read the notes, I recalled they did two songs for The Transformers soundtrack under the name Spectre General.  The notes confirmed that Spectre General was Kick Axe, not some side project.

Thanks to Rock Candy, light was shed on early Kick Axe history previously unknown to me.  I discovered they had an early 7″ single called “Weekend Ride”, with a singer earlier than George Criston.  They also had a live track on a compilation called Playboy Street Rock.  When Bob and I were kids, we used to be fascinated by the early history of bands.  Like finding out White Lion had an album before Pride, or that Iron Maiden had something called The Soundhouse Tapes before their first album.  I wanted to get the early Kick Axe stuff I just found out existed!

III. AMAZON and DISCOGS

If I knew about those early Kick Axe songs as a kid, it would have taken me decades to find them.  Today, I had most of them within a week.

Amazon had Rock the World in stock, and it was at the house two days later. Discogs had “Weekend Ride”, The Transformers, and Playboy Street Rock from different sellers.  I hesitated on Transformers but pulled the trigger on the other two.  I would have preferred a remastered Transformers CD with bonus tracks.  They were way too rich for me.  I couldn’t get one for much less than $50.  Even the reissued vinyl without the bonus tracks was pricey.  Ultimately, I settled on an original CD, which was still not cheap.

“Weekend Ride” and Playboy Street Rock arrived within a few days.  Wonders of the modern world.  What would have taken years before happened in under a week.

IV. KICK AXE

Fortunately, it turns out that I quite like my Kick Axe purchases.  So much so, that I was inspired to do a Kick Axe review series.

Kick Axe have a fourth album (Kick Axe IV) from a Criston-less reunion.  I’m undecided if I’ll go that far, but in the mean time you can look forward to learning more about Canada’s own metal proponents.  I’m delighted to discover a band that could really sing, and play like big leaguers.  I hope you’ll enjoy them too.

REVIEW: Kick Axe – “Weekend Ride” (1981 single) – Kick Axe series Part Two

Part Two of a series on classic KICK AXE!

KICK AXE – “Weekend Ride” / “One More Time” (1981 Swyne Song single)

When we last met Kick Axe, it was on the surprisingly great live track “Reality is the Nightmare“, from a very obscure compilation by Playboy magazine.  It seems the guys at Playboy thought they should get into the music business too.  They put out an album featuring recordings by unsigned bands, and among them was Kick Axe.  At roughly the same time the live track was recorded, Kick Axe were also working independently on a single.

This early Kick Axe lineup still featured Charles McNary on lead vocals, a capable singer.  The rest of the classic band was set:  Victor Langen (bass), brothers Larry (guitar) and Brian (drums) Gillstrom, and guitarist Raymond Harvey.  Recording in Vancouver, they managed to get the late Brian “Too Loud” MacLeod to co-produce, he of Headpins and Chilliwack fame.

“Weekend Ride” was the A-side, a slick track that already had the trademark Kick Axe rhythm.  It’s largely based on Victor Langen’s thrumming bass.  Solid chorus, interesting guitar hooks, and a screamin’ lead vocal — the essential stuff — are all present.  There’s even some wild, prototypical metal soloing.  The band were also fortunate enough to have capable backing vocalists, not fully exploited until their major label debut.  On “Weekend Ride”, you can hear the start of that.

The interesting thing is the B-side, “One More Time”, a song written by Ray Harvey.  This sounds like a different singer from the A-side, and it’s probably Harvey.  It also features extensive keyboard solos, something they never did again.  It sounds like a different band.  Suffice to say, Kick Axe pursued the sound of the A-side when they made an album.  “One More Time” sounds like a poor man’s Styx!

A few more years of hard work and a critical lineup change would prove to be the key for Kick Axe.  Spencer Proffer of Pasha records was about to change their fortunes in a big way.

If not for this small handful of early Kick Axe recordings, we’d have no record of what they sounded like before Spencer stepped in and added his own ingredients to the stew.  As it turns out, they were already good.  They didn’t need a big namer to write good songs.  They even had a good singer, before the lineup change that would bring George Criston’s golden pipes to the fore.  They were on their way…for a “Weekend Ride”.

3.5/5 stars

 

REVIEW: Kick Axe – “Reality is the Nightmate” (1981) – Kick Axe series Part One

Part One of a series on classic KICK AXE!

KICK AXE – “Reality is the Nightmare” (1981, from Playboy Street Rock on Nightlife Records)

They were originally called Hobbit.  Formed in Regina Saskatchewan, the core was Larry Gillstrom and the Langen brothers, Victor and Gary.  They were playing mostly covers, but by mid-1976 they changed their name to Kick Axe.  What is a “Kick Axe”?  The name represented rock band instruments – kick drums and axes.  Members came and went, including Gary Langen, until they settled on a five member lineup:  Larry Gillstrom (guitar), his brother Brian (drums), Victor Langen (bass), Raymond Harvey (guitar) and Charles McNary (vocals).

It was this lineup that recorded the first Kick Axe releases.  (Though not the very first Kick Axe recordings — an earlier album was scrapped and has never been heard.)  The first two records that were available were a single called “Weekend Ride” (to be reviewed next time) and a live song called “Reality is the Nightmare”.  This was recorded in Vancouver and released in April 1981 on a most peculiar LP.

Street Rock was a compilation by Playboy Magazine of new, unsigned bands.  Kick Axe were one of two Canadian bands to make the cut, the other being a group called The Remedials.  According to the back cover, which prominently features the “rabbit head” logo, these are the bands that won a Playboy “music poll talent search”.  It appears Kick Axe were the only group here who went on to bigger things.  I’ve never heard of Snake Rock.  Have you?  The singer’s name was Snake Rock (no relation to Kid or The), and he had a snake tattoo and a snakeskin vest.

Kick Axe clearly had talent even back in 1981.  “Reality is the Nightmare” boasts a solid riff and accompanying groove.  Charles McNary was a decent singer, too.  Kick Axe got lucky later on when they landed the golden pipes of George Criston, but McNary could hold his own.  He could scream and carry a melody.  The guitar soloing and drumming on this track is quite exceptional.  The track was written by McNary and Larry Gillstrom, and whadayaknow? — they could write a good song!  It’s a well constructed heavy rock song, not breaking any new ground, but doesn’t have to.  Listening to the individual instruments, it’s clear that Kick Axe could always play and always write melodically.  Victor Langen is a melodic bassist and combined with Brian Gillstrom’s almost tribal drums, you get a song that is more than the sum of its parts.  That’s pretty impressive for such early material.

With a quality track like this right from the start, Kick Axe were off to the races.

4/5 stars

 

 

NON-REVIEW: KISS – Hit Collection 2000 (Russian import)

kiss-logo – Hit Collection 2000 (E.S Records – Russian import)

I call this a “non-review” because I’ve never actually listened to this CD.  I’ve never even opened it.  This disc is one of dozens of Russian imports sold to us by a guy named Serge.  Ah, Serge — part time Russian CD distributor, part time male model.  And a total pain in the ass.  Most of what he tried to sell us was utter shit.  “This is really big in Europe”, he would say about just about every dance CD that I would pass on.  Because this CD is more a curiosity than anything else, I’d like to keep it sealed.  These compilations are so shady that Discogs won’t even allow them for sale.  Think of them as bootlegs.  It’s not the real Kiss logo at the top and that should be cautioning. Because I don’t want to open it, I’ll just listen to the songs on other albums, and review it that way.

The track “Psycho Circus” is a logical opener for a CD released in 2000.  The Psycho Circus album was Kiss’ most recent, and they opened their shows with the title track.  It’s the closest thing to a classic from that album.  Never mind that Ace Frehley and Peter Criss aren’t really on the song; that was typical for Kiss.  It just takes one play and you know it’s Kiss.  Nobody else sounds like this.  Kiss basically ripped themselves off on this song.

Off to a good start, but then things go a bit strange.  “Charisma” from 1979’s disco album Dynasty follows, and by contrast to “Psycho Circus”, the band has never played it live.  (The internet will tell you they played it in Mexico in 1981, but this was just miming for a TV performance.)  The Russians then dropped “Detrot Rock City” (yes, that’s how they spell it) in the third slot.  Then it’s “God of Thunder” which works really well immediately following “Detroit”.  Strangely, back to disco next.  It’s the hit “I Was Made for Lovin’ You”, before it gets even weirder.  Sandwiched between “I Was Made For Lovin’ You” and a slew of tracks from the Kiss solo albums is the ballad “Beth”.  Granted, “Beth” is pretty out of place no matter where she is placed.  It’s also strange that three of Kiss’ biggest hits are crammed together in a small group like this.  It’s even stranger when you look further down the tracklist and realize that one of the biggest hits (“Rock and Roll all Nite”) is completely absent in any form.

The only thing more jarring than hearing Gene Simmons’ solo track “Radioactive” immediately after “Beth” is when the painkillers start to wear off in the middle of a root canal.  Were the solo albums big in Russia?  All four solo albums get a track on this CD, though not all were singles like “Radioactive” was.  Frehley’s “Rip It Out” is arguably a better song than his single anyway (“New York Groove”).  “Rip It Out” is more than welcome here since it so rarely makes it onto compilations.  It’s only on two others:  Best of Solo Albums, and Ikons.  Stanley’s next with “Ain’t Quite Right”, an interesting choice since it’s such a laid back track.  His album has so many better songs for compiling.  Last of the solo tracks is Peter’s single “Don’t You Let Me Down”, a nice ballad, but as you’ll see this CD already has enough ballads.

Back to the mainstream Kiss songs, “Do You Love Me” works really well as a transition out of the solo stuff.  Then it’s time for some Elder.  “A World Without Heroes” isn’t shunned like it used to be.  It’s been on a few compilations, like Kiss 40, Icon 2, and the Box Set.  Another hit from the disco era, Frehley’s “2000 Man” (a Stones cover) is a welcome addition.  The only other compilation it’s been on was Ikons (not including live). Here’s a fact for you:  a Kiss compilation is only strengthened by more Ace.  Fortunately this isn’t the last.

As we get close to the end, “Shout It Out Loud” is rolled out, which makes up for the lack of “Rock and Roll all Nite”.  Then the Russians go full Chernobyl by including the weak ballad “I Finally Found My Way” as the last song in the set.  Why?  Was this a hit in the motherland?  Was it a hit anywhere?  Peter sings it, but he didn’t write it.  Paul did.  And Paul was writing a lot of shit ballads back then.

Russian imports usually had “bonus tracks”.  Sometimes they’d use tracks from live or solo albums.  They went live in this case, with three tracks from the Psycho Circus bonus CD.  Ace sings on “Into the Void”, one of those undeniable Frehley riffs.  “Into the Void” was a highlight from the disappointing Psycho Circus, and this live take swaggers.  “Black Diamond” is dramatic as ever, but where I give the Russians the most credit is closing the CD with “Let Me Go, Rock and Roll”.  Think back and realize, that’s how the original Kiss Alive ended too.

I’m not going to bother giving this CD a rating (what’s the point?) but I will point out that the Russians go all over the place, from genius to asinine, with this track list.  Sometimes it feels like they just threw a bunch of stuff to the wall and didn’t wait to see what stuck.  At others it sounds well thought-out.  It’s probably just random.

?/5 stars

REVIEW: Hollywood Vampires – Rise (2019 3 CD Japanese edition) Part 2 – Live

Part two of a two part review

Check out part one, the studio album Rise, by clicking here.

HOLLYWOOD VAMPIRES – Rise (2019 Edel Japanese edition) – Discs 2 & 3 Live

How do you do a Japanese edition up right?  How about including 21 bonus tracks in the form of a double live album?  Get your credit cards out, folks.

Hollywood Vampires Live unfortunately lacks any English documentation, but Japanese readers might know when and where this show was recorded.  It focuses on the covers with a handful of originals, the basis of the first Hollywood Vampires album.  Unfortunately a few more fallen heroes have been added to the list of rock casualties, and so Lemmy and Bowie are among the stars honoured.

The original tune “Raise the Dead” (featuring an intro by the late Sir Christopher Lee) opens the show, but it’s just preamble for the better known covers.  “I Got A Line On You” is the first track where you realize you’re listening to Matt Sorum (Guns N’ Roses, The Cult) on drums.  He’s unmistakable.  The big surprise is that the bassist is Robert DeLeo (Stone Temple Pilots)!  Alice first covered this tune back in ’88 and it sounds like it’s one of his own songs now.  “20th Century Boy” has bite, a little more than the studio cut.

Alice pauses to explain the concept of the band.  “We are the Hollywood Vampires,” he asserts.  “We pay homage to all of our dead drunk friends.  And here comes one now.”  It’s Keith Moon and “Pinball Wizard”, a Who cover that was not on the Hollywood Vampires’ debut album.  “My Generation” was however, and here it’s injected with the live fire of the sweaty concert stage.  Jimi Hendrix is honoured next with “Manic Depression”.  Joe Perry playing Jimi Hendrix.  Cool.   Alice Cooper has no problem jumping from style to style, expert performer that he is.

“This one’s for John,” states Alice.  That would be John Lennon, with both “Cold Turkey” and “Come Together”.  Joe Perry, of course, is no stranger to “Come Together” which Aerosmith scored a hit with themselves.  “Come Together” is another nice bonus because it wasn’t on the Vampires album.  It has a different feel from Aerosmith’s take even though it’s the same guitar player.

“Seven and Seven Is” (by Arthur Lee and Love) goes next, which is a late addition to the canon.  The Vampires recorded it as an iTunes bonus track for the debut album where it remains an exclusive.  The live version is a blitz; Matt Sorum’s sticks must have caught fire.  Contrasting that is the band’s interpretation of “Whole Lotta Love”, with Alice and Tommy Henriksen singing lead instead of Brian Johnson.

“I met these guys in 1968.  They were my best friends.  And I drank a little bit with Jim Morrison…”  The Doors are next to be saluted.  “Five to One” and “Break On Through” kick ass; Alice really gives ‘er.  David Bowie gets the nod on “Rebel Rebel” and “Suffragette City”.  It all sounds natural to the Hollywood Vampires.

“As Bad As I Am” is an original song about Johnny Depp, and another track that was only on the iTunes version of Hollywood Vampires.  It sounds a bit like “Reckless Life” by Guns N’ Roses.  Joe Perry takes the next lead vocal on “Stop Messin’ Around”, the old Peter Green’s Fleetwood Mac blues number.  It’s an obvious choice since Aerosmith covered it on their 2004 blues album Honkin’ on Bobo.  This one is an extended jam, far beyond what Aerosmith did with it.

“My Dead Drunk Friends” is a Vampires original, sort of their raison d’etre, that being paying tribute to Alice’s deceased drinking buddies.  It pales in comparison to “Ace of Spades” (lead vocals by Henriksen), easily the heaviest song that Joe Perry’s ever played on.  Possibly Alice too.  Check out DeLeo on bass, doing his best Lemmy.  It’s sad that Lemmy Kilmister joined the list of Rainbow regulars who didn’t make it, but holy shit, what a version!

Only now, at the end of the concert, do the Vampires roll out their own past hits.  “I’m Eighteen”, “Sweet Emotion”, “Train Kept A Rollin'” and “School’s Out” sound brilliant.  In particular, to hear “I’m Eighteen” with Joe Fucking Perry playing guitar?  “Sweet Emotion” with Alice Cooper singing?  Sweet Jesus Murphy, is this a fever dream?  As usual, Alice melds “Another Brick in the Wall” to “School’s Out” pretty much making it the definitive “school” song.

Closing the show, Alice reminds us:  “And remember, give blood!  To us!”

If the Vampires keep putting out quality releases, then that’s a distinct possibility.

4/5 stars

REVIEW: Hollywood Vampires – Rise (2019 3 CD Japanese edition) Part 1

Part one of a two part review

HOLLYWOOD VAMPIRES – Rise (2019 Edel Japanese edition) – Disc 1

The first Hollywood Vampires was a covers album with a few originals.  The second is an originals album with a few covers!  It’s a little strange and kind of sounds exactly how you think it would.  Alice Cooper, Joe Perry, Johnny Depp and pals obviously set out to have fun, which is audible, but there’s also a weird bent that runs through.  Interestingly some of the best songs are the ones that sound like Aerosmith riffs, done up far better than Aerosmith would have lately.

At the outset, the Aerosmith flavour dominates the stew that is “I Want My Now”.  It’s “Draw The Line” meets Alice Cooper.  You can hear what it would have been like with Joey Kramer on drums, Tom Hamilton on bass and Steven Tyler shrieking up front, but instead it’s Alice, who has had a much more consistent output of late than Aerosmith.  In other words, Perry’s riffs are in good hands and the guy deserves to have a lil’ fun.  His guitar work has the looseness that Aerosmith shed years ago.

“Who’s Laughing Now” is psychedelic Alice, which could be the Depp influence. It’s a really good tune accented by 8-string bass (by Tommy Henriksen) and Joe Perry’s unmistakable guitar expertise. It’s also bookended by two weird instrumentals that appear to be Depp creations. Unfortunately all this lead-up ends at the slow and stodgy “The Boogieman Surprise”, probably the weakest tune. This starts a lull. A farcicle “Welcome to Bushwackers”, featuring Jeff Beck, is a token hillbilly country tune that doesn’t live up to its promise. The highlight, obviously, is Jeff Beck.

Course is corrected on Joe Perry’s lead vocal, a surprising “You Can’t Put Your Arm Around A Memory”, the Johnny Thunders song previously covered by Duff McKagan. Joe’s version is poignant and wise. “Git From Round Me” is a pulsing, hypnotic charge through the gates with Johnny Depp sharing vocal duties with Alice and Tommy. Depp takes one by himself on the Bowie cover “Heroes”, a surprisingly outstanding version. According to Cooper, Johnny Depp (who is currently fighting an acrimonious divorce battle with two-way accusations of domestic violence) had a lot of emotion to put into Rise.  Perhaps that’s what gives “Heroes” its weight, though it’s not a heavy song.

The best of the brief instrumentals is by second bassist Chris Wyse, called “A Pityful Beauty”.  The song it precedes, “New Threat”, is OK.  It is not up to the better material, sounding a bit like a stock riff & rhythm.  Fortunately “Mr. Spider” has a classic Cooper atmosphere, brimming with drama and horror.  Also sounding like classic Alice, but a different kind, is “We Gotta Rise”.  It’s “Elected” all over again with a Billion Dollar Babies mold, starring “President” Alice Cooper.  Alice isn’t political, but it’s hard to read these lyrics as anything but:

“We gotta rise, let’s rise,
We gotta rise, let’s rise above the lies,
It’s you and I, it’s do or die,
We gotta rise, let’s rise above the lies.”

Maybe that’s reading too much into it, but it sure does sound like a call to arms.  Regardless, “We Gotta Rise” is the best original song on the album.  Depp’s next lead vocal, the Jim Carroll cover “People Who Died” is just about its equal.  A rockabilly punk rocker, “People Who Died” is catchy as the flu, but better for you.

Rise concludes with an interesting spoken word track called “Congratulations”.  It works because Alice, Johnny and Joe have rich speaking voices.  Tommy Henriksen gets a spoken word portion too, using his more like a beat poet.  What you’d think would be a boring slog turns out to be an album highlight.

It’s hard to fathom where Rise will sit in six months time or a year.  It has moments less than stellar, where fat could have been cut, but the weirder escapades could warrant many returns.  Bad press aside, Johnny Depp is charismatic on record.  Joe Perry sounds like he’s having fun playing rock and roll away from Aerosmith.  And Alice?  When has he ever sounded like he wasn’t having fun?

Rise will probably have more longevity than the Hollywood Vampires’ covers album, it just needs to lose some dead weight.

3.5/5 stars

Come back tomorrow for a look at the Japanese exclusive Discs 2 and 3:  Hollywood Vampires Live.

 

 

REVIEW: Max the Axe – Overload (2008 EP)

MAX THE AXE – Overload (2008 Mutant Mind EP)

The ever-prolific Max the Axe has plenty of CDs under his belt, but the 2008 EP Overload is one of his most pleasing.  Featuring vocalist Terry Guirey, Overload has six rocking tunes, clocking in at roughly 18 minutes.  No fuss, no muss, no fat to be trimmed.

Opener “Overload” (heard in the video below) begins quiet and ominously enough, but just when you’re expecting a Scorpions power ballad to start, in comes the heavy! “If I told you once, I told you over and over,” sings Guirey over a simple grungey punk riff. “‘Cause I’m prone to overload…” he says, so stand back. No guitar solo, just punk rock heaviness.

A jolt of feedback in “Blood Runs Red” illustrates the rawness of the recording. All you need is a riff and a melody, and Max serves it up blood-raw. He’s also not content to only give you just one riff per song! That’s also the case with “Labyrinth”, which settles into a nice groove.

If “River Grand” sounds familiar, it should. 10 years later, it was re-vamped with vocalist extraordinaire Eric “Uncle Meat” Litwiller on the Status Electric album.  While the Meat version is superior due to a tour-de-force vocal performance, the original still rocks with a grungier flavour.

A pair of Max favourites closes the CD.  “Livin’ the Country” and “Mexican Standoff” have to be heard live to fully appreciate them.  The CD will have to do for now.  “Livin’ the Country” is like Paranoid-era Sabbath, loosely riffing your balls off.  Stand by for a unique, patented Max guitar solo.  Then “Put your hands up!” for the “Mexican Standoff”.  If you live to tell the tale, you’ll want to hear it again.

Max should consider re-recording some more of these songs with Litwiller.  Max has the goods on Overload, an excellent primer for what was yet to come.

3.5/5 stars