EUROPE – Best Ballads (1999 unofficial Russian compilation)
Ah Russian imports! Β Those funky and cheaply printed covers, the lack of liner notes or label information…how quaint. Β It is clear the Tempest Administration had no collusion with anyone in Russia. Β Yet the Russians did hack their database and release Best Ballads anyway, a weird collection of 12 Europe songs and three solo tracks by Joey Tempest. Β This CD originated during the period right before Europe’s triumphant reunion album Start From the Dark, so Best Ballads only contains music from the first five Europe discs.
Because it’s unauthorized and the Russians can do whatever they want, why not have both versions of “Open Your Heart” on one CD? Β The sweeping 1988 version from Out of this World inaugurates the album, a brilliant version often forgotten in favour of the 1984 original. Β What’s the difference? Β John Norum played on the 1984 version from Wings of Tomorrow, and the re-recording has his replacement Kee Marcello. Β The 1988 version also has more modern keyboards added. Β Since both are included, you don’t have to pick a favourite. Β We can all agree it truly is one of Europe’s Best Ballads.
What else is present? Β The “big one” of course, which would be “Carrie”. Β It’s the only track from The Final Countdown, because it was the only hit ballad from that album. Β Other crucial Europe ballads: Β “Dreamer” (Wings of Tomorrow), “Coast to Coast” and “Tomorrow” (both fromΒ Out of this World). Β All timeless and flawless ballads. Β From their first album (1983’s Europe) are a couple songs I wouldn’t have considered ballads. Β In my review, I stated that “Words of Wisdom” has “an acoustic verse [but] that doesnβt make it a ballad!” Β The other track, “Return of the King”, is “still pretty epic and wouldnβt be considered wimpy by anyone”. Β Do they belong on a CD called Best Ballads? Β Who gives a fuck; it’s just a Russian import!
You’ll even find a couple rarities included. Β “Sweet Love Child” and “I’ll Cry For You (Acoustic version)” are both B-sides from the Prisoners in Paradise (1991) period. Β The title track “Prisoners in Paradise” is also present but again, not really a ballad. Β Either way…all the Europe tunes included are fantastic no matter how you classify them. Β Each one has at least a foot in ballad territory so it all works out.
But what about those Joey Tempest “bonus tracks”? Β Surprisingly good and un-Europe. Β “Under the Influence” flies close to adult contemporary levels. Β “Lord of the Manner” could have been a hit for Rod Stewart, but that’s not a bad thing! Β This is more like soft rock than balladeering. Β “Elsewhere” sounds more like a ballad, enhanced with strings and all the accoutrements. Β All good songs and worth checking out.
Europe’s Best Ballads is not a bad little CD, but being an unofficial release, it’s difficult to reason out a rating out of 5. Β I did the best I could.
DIO – The Last in Line (originally 1984, 2010 Universal deluxe edition)
Ronnie James Dio used to consider the second albums he did as inferior to the first ones. Β Second Rainbow wasn’t as good as the first; same with the second Sabbath, according to Ronnie. Β Is that also true for The Last in Line compared to the legendary Holy Diver?
Comparing the two is much like splitting hairs. Β The two albums are so close in style and quality that it really doesn’t even matter.
A better opener than “We Rock” is hard to find. Β The blitz of drums and riff was custom made for bangin’ on the stage. Β It’s unusual to hear a song where the drums are a major hook, but Vinny Appice has a way of doing just that. Β He gives you the urge to air-drum every time he throws down a fill.
Dio had an interesting pattern for his albums in the early days, up to Dream EvilΒ (1987). Β The albums always began with something fast. Β In the songΒ two position: Β always the title track! Β (The title track of each album always had a few lines of lyrics printed in the album sleeve too!)Β And so it is with “The Last in Line”. Β The soft and ballad-y opening lures one into that “safe place”…before Dio lets it loose. Β One of his best and most memorable music videos went with “The Last in Line”, absolutely one of the legendary man’s most notable songs. Its reputation is well earned, as all the pieces are in the right and you never get tired of hearing it.
We’ll know for the first time, if we’re evil or divine, we’re the last in line!
With the first two tracks being so legendary to Dio fandom, it’s easy to understand how the next batch often get lost in the shuffle. Β “Breathless” lacks for nothing. Β Vivian Campbell’s solo spot is blazing stuff, and the song is memorable enough for head banging. Β Accelerating into “I Speed at Night”, hooks are sacrificed for tempo. Β It’s quintessential 80s heavy metal when speed was such an important thing. Β Not a bad tune, but one with only a single purpose — banging thine head.
“One Night in the City” takes the time to allow the hooks to percolate through. Β Vinny and bassist Jimmy Bain lock into a mid-paced groove while Ronnie lays down one of his typically emotive melodies. Β Though it simmers on a back burner, “One Night in the City” is hot just the same. Β “Evil Eyes” is also a high quality tune, and if it’s familiar that might be because an earlier version was a B-side, included on the Holy Diver deluxe edition. Β Naturally, the album version is more polished, but as for which is better, that’s up to the listener. Β Then there is “Mystery”, arguably Dio’s most “pop” single. Β Not such a bad thing, after all Ronnie James Dio also did right by “Love is All” from the Butterfly Ball.
We are lightning, we are flame, and we burn at the touch of a spark.
“Eat Your Heart Out” is the only stumble, but it’s soon paid back with “Egypt (The Chains are On)”, a Dio epic in true metal fashion. Β Who doesn’t love a good plodding metal epic about Egyptian legends? Β It’s a second or third tier metal motif! Β Ronnie brings his own metal melodrama to the fore.
The Last in Line is already a great album, certainly up to the quality of Holy Diver with equally memorable material. Β This carries over to the bonus CD included in the deluxe edition. Β Four single B-sides from the era are included. Β They are live versions of “Eat Your Heart Out”, with “Don’t Talk to Strangers”, “Holy Diver” and “Rainbow in the Dark” (all originally from Holy Diver). Β The only two B-sides missing are “Stand Up and Shout” and “Straight Through the Heart” live at Donington 1983, from “The Last in Line” 12″ single. Β These tracks however can be found on the 2010 CD release,Β At Donington UK: Live 1983 & 1987Β .Β
FinallyΒ we have Dio’s entire set from the 1984 Pink Pop festival. Β Naturally there is some overlap with the previous live tracks: Β “Holy Diver”, “Rainbow in the Dark” and “Don’t Talk to Strangers”. Β This is offset by a smattering of Rainbow and Black Sabbath classics: Β “Stargazer”, “Man on the Silver Mountain” and “Heaven and Hell”. Β The audio is quite good and Jimmy Bain’s bass has a nice full thump to it. Β The Last in Line is one deluxe you’ll want to add to your collection
HELIX – Walkin’ the Razor’s Edge (1984 Capitol, 2009 Rock Candy reissue)
If you’re from Canada, then chances are you already know how to properly respond when somebody requests of you to “Gimme an R!”
You give them a fuckin’ R!
To quote Ricky from Trailer Park Boys, “Helix was a wicked concert. Fuck I sold a lot of dope at that concert. They had good lyrics, like ‘Gimme an R, O, C, K,’ and then the crowd yells ROCK really loud. Now that’s a fuckin’ concert.”
Bob Halligan Jr. wrote it, but Helix made it legendary. Β In turn, “Rock You” put them on the map. Β It’s pure arena rock: Β “Don’t just sit there, come on get up and move!” Β With a riff, a catchy tune and a shout-along chorus, “Rock You” was custom built for 1984. Β The Pepsi Power HourΒ gave it regular play, and the boys toured relentlessly. Β Helix’s rep as a down n’ dirty hard rocking band was secure. Β The music video scared away my neighbor, David Dolph, a kid from across the street whose very Catholic parents wouldn’t let him listen to rock music or watch Dr. Who. Β Instant street cred!
“Rock You” opened Walkin’ the Razor’s EdgeΒ (their fourth LP) with a punch. Β “Young & Wreckless” followed with a kick in the ass. Β This chugging rocker is all about a good time. Β Strangely enough, this track somehow frequently ended up on Kiss bootleg CDs. Β Bootleggers most likely confused it with Kiss’ own “Young and Wasted” from 1983’s Lick it Up. Β Needless to say, if you find a Kiss bootleg claiming to have an unreleased song on it called “Young & Wreckless”, it’s not Kiss. Β It’s Helix. Β And it kicks ass.
“Animal House” is a Helix concert classic, a bar-bustin’ rocker with a sweet slide guitar licks from Brent “The Doctor” Doerner. Β He and gui-partner-in-crime Paul Hackman formed a formidable and underrated duo. Β They supplied Helix with a seemingly bottomless well of riffage and tasty guitar hooks. Β Meanwhile lead howler Brian Vollmer was in peak voice,Β driving the whole thing home. Β Next up is “Feel the Fire”, basically a re-write of “Heavy Metal Love” from 1983’s awesome No Rest for the Wicked LP. Β Though the songs are similar, both kick equal amounts of ass, so we will allow some self-plagiarism. Β The first side was finished off with a real sledge: Β “When the Hammer Falls”. Β It’s a real headbanger in the classic sense, fast and loud.
“Gimme Gimme Good Lovin'” kicked off the second side, a Crazy Elephant cover that became one of Helix’s most notorious music videos. Β There was a TV version and a uncensored cut with full frontal nudity. Β One of the girls in the video was an underage Tracy Lords. Β Whoops! Β Meanwhile, a 13-year-old me couldn’t take my eyes off the TV! Β (A classmate of mine called Ian Johnson was known for his tall tales, and took credit for giving Helix the idea for the video!) Β “Gimme Gimme Good Lovin'” was one of those instantly catchy songs that seemingly everyone dug, and check out Doerner’s killer solo.
The shot with Doctor Doerner kicking the lightbulbs is possibly the coolest of all time.
Helix want to tell you what turns them on in “My Kind of Rock”, but I think it’s the biting riffs. Β Not a bad tune, but Helix have done better. Β That’s just filler before the ballad “(Make Me Do) Anything You Want”, a cover of A Foot in Cold Water. Β Helix’s take is remarkably true to the original. Β It’s considerably softer than anything else on the album, but that’s the function of a ballad on a rock album. Β Vollmer’s performance helped make it a Helix favourite that’s still played live in concert. Β Another track called “Six Strings, Nine Lives” is the only tune that should have been excised. Β Good chorus, but without a song to go with it. Β One of the best Helix originals was saved for the closing position: Β “You Keep Me Rockin'”. Β Dark and edgy, it’s a heavy and memorable tune to end Helix’s best selling LP.
Walkin’ the Razor’s Edge is a good record, but as is so often the case with the “big hit” albums, it’s not their best. Β No Rest for the WickedΒ is the one to seek out for the “all killer, no filler” experience. Β Razor’s Edge has some essential cuts, but a couple fillers too. Β If you’re thinking about picking this up, the wisest purchase would be the 2009 reissue by Rock Candy. Β This remastered disc contains rare photos and liner notes including an interview with Brian Vollmer. Β It also has three must-have bonus tracks: Β Live versions of “Young & Wreckless”, “Rock You” and “Animal House” from the uber-rare promo EP Live at the Marquee. Β Since Helix were (and are) known for their blitzkrieg live shows, these tracks are well worth having on CD.
Β Β βΒ Creatures of the NightΒ (1982 Casablanca, 1985 Polygram reissue, 1997 Mercury remaster)
The internal problems with Kiss continued full-bore into their next album, the surprisingly powerful Creatures of the Night.Β Ace Frehley was on the cover, and in the music video, but like Peter Criss before him, he didnβt play a note.Β In the midst of recording with new producer Michael James Jackson (Red Rider), they were also auditioning new guitarists to replace the Ace.
As a result of the embarrassing failure of their concept album fiasco Music From the Elder, Kiss had little choice in what to do next.Β If they had any hope of survival as a musical entity, they had to return to rock.Β What may have come as a surprise given their recent history including two pop βKisscoβ albums was that their new music was really, really heavy.Β Kiss were unleashed and went full-bore heavy metal.
Aiding and abetting this:Β drummer Eric Carr was unchained on Creatures of the Night.Β His drum sound, inspired by the massive slam of Zeppelin’s John Bonham, was completely off the hook.Β These are by far the biggest sounding drums on any Kiss album.Β Also helping the band get heavier:Β a new songwriting partner.Β Vincent Cusano wrote and played on several tracks on Creatures.Β His talent was evident to all.
In fact there is a school of thought today regarding Mr. Cusano, later redubbedΒ “Vinnie Vincent”.Β A large vocal group of fans proclaim today that βVinnie Saved Kissβ.Β And that theory does hold some water.
Other contributors to the LP included Canadian writing team Bryan Adams and Jim Vallance.Β Adam Mitchell and Mikel Japp also wrote with Paul and Gene.Β Guitarists Robben Ford, Steve Farris and Adam Mitchell lent chops and solos to the album.Β One guy who Gene claims came to the studio, but did not play, was one Eddie Van Halen.Β According to Gene Simmons, Eddie came down and poured his heart out complaining how miserable he was in Van Halenβ¦and then asked to join Kiss.Β Believe itβ¦or not?
The incendiary title track βCreatures of the Nightβ is powerful and instantaneous enough to be used as a concert opener.Β The metallic chug was new to Kiss, but not alien to them.Β This anthemic Paul Stanley rocker had the goods.Β Kiss were back, and in a big way.Β Just listen to those opening drums!Β Itβs as if Kiss knew that Eric Carr still needed a more suitable introduction, and they gave it to him.
Creatures is notable for one major βfirstβ.Β It was the first of many Kiss studio albums to only feature two lead singers, Gene Simmons and Paul Stanley.Β Geneβs debut on Creatures is the incredible βSaint and Sinnerβ, heavy but low-key and based on a killer verse melody.Β βGet me off this carousel, you can do as you pleaseβ¦you can go to hell,β sings an angry Demon. Β And thatβs Vinnie, absolutely smoking with a brilliantly melodic guitar solo.Β What a playerβ¦but only when he can control his instincts to play too fast.
Paul turns up the sex on βKeep Me Cominββ (har-de-har har!), a sleazy Kiss rocker with a heavy Zeppelin groove.Β While not quite filler material, βKeep Me Cominββ and another Paul track called βDangerβ are definitely on the lower rungs of this album.Β βDangerβ is the prototype for a kind of speed metal Kiss rocker that Paul threw on all the albums from this point to 1985.
One of Paulβs best songs, and longest lasting in concert, was the ballad βI Still Love Youβ.Β This is one heavy ballad, but Paulβs singing is completely over the top. Β Again, itβs more like a heavy Zeppelin blues ballad. Β A track like this proves why Paul is considered one of the greatest hard rock singers of all time.Β Not too many can do it like Paul on βI Still Love Youββ¦and thatβs Eric Carr on bass, by the way.Β Gene doesnβt play bass on most of Paulβs songs.Β Jimmy Haslip (ex-Blackjack featuring Michael Bolton and future Kiss member Bruce Kulick) and Mike Porcaro took over bass duties on βDangerβ and βCreaturesβ respectfully.
As for Gene, Creatures really sounds up his alley, with tunes like βRock and Roll Hellβ, βKillerβ, and βWar Machineβ suiting his dark persona.Β And what tunes these are, particularly βRock and Roll Hellβ which simmers with a midnight intensity.Β The song rides the basic bassline with not much in the way of additional crunch, into chorus time.Β The interesting thing is the song is actually a thorough re-working of an old Bachman-Turner Overdrive song written by Jim Valance.Β In fact, Valance claimed that Simmons only insistedΒ on reworking the song in order to get writing royalties.Β Either way, βRock and Roll Hellβ just burns like an ember.Β Then in another interesting twist, the song was later covered by Ace Frehley (Origins Vol. 1)!Β A Kiss cover of a Kiss song he never played on.
βKillerβ reeks of Vinnie Vincent.Β One of the key guitar riffs sounds quintessentially Vinnie, and kind of similar to his later solo track βBoyz Are Gonna Rockβ.Β Itβs a brilliant track, right up Geneβs alley, with intense speed and hooks. Β The female backing vocals in the outro are a surprise.Β βWar Machineβ on the other hand sounds purely Gene, even though itβs a co-write with Valance and Bryan Adams.Β Something about it personifies the βmonster plodβ sound that Gene specializes in. Itβs apocalyptic Kiss metal for your nightmares.Β Itβs strong and relentless.
The single was, of course, the overplayed βI Love it Loudβ, which in turn was transformed into a killer music video featuring Ace Frehley miming Vinnie Vincentβs guitar.Β βI Love it Loudβ is insanely catchy and unshakeable during its first several listens.Β After that, itβs too simple to maintain interest too long.Β Itβs kind of baffling how this song has remained in set lists well past its sell-by date, especially when tracks like βKillerβ and βSaint and Sinnerβ are not.
In 1985 this album was reissued with new non-makeup cover art.Β On the cover they replaced Ace Frehley, who never played on the album, with Bruce Kulickβ¦who never played on the album.Β Three songs were remixed:Β βCreatures of the Nightβ, βWar Machineβ, and βI Love it Loudβ, but only “Creatures” was included on the 1985 album. Β The remixed “I Love it Loud” was later issued on a compilation, and the remixed “War Machine” has yet to be released. Β TheΒ remixes by Dave Wittman generally toned down the awesome drum sound, weakening the experience overall.
Vinnie Vincent joined the band officially after Creatures was recorded, and was given his own makeup design: Β The “Ankh Warrior”. Β A strange choice for a new character; perhaps Kiss were plain out of ideas or just didn’t care. Β It’s the only Kiss makeup design to never be seen on an album cover. Β Then, Kiss embarked on their first American tour in years, the 10th Anniversary Tour.Β It featured a stage with a tank for a drum riser.Β βKillerβ indeed!
Today’s rating:
4.5/5 stars
Uncle Meat’s rating:
2.5/5 steaksΒ
Meat’s slice: Β When Creatures of the Night was released in 1982, Kiss had been on the back burner for me for a couple years.Β Obviously still loved the classics, but 12 year old Meat was starting to become a huge fan of Heavy Metal music.Β Two different friends of mine and I were discovering new music together.Β Albums like Ace of Spades, Maiden Japan and Saxonβs Denim and Leather were the gateway drug for me on my way to being addicted to Heavy Metal. So when Creatures came out I recall being so into it, primarily because this was a βHeavy Metalβ Kiss record.Β Whatβs not to like?Β The video for “I Love it Loud” was awesome and renewed my love for the band at the time.
So I listened to Creatures from stem to stern the other day, 35 years after it was released, and my take on this album is now quite a different story.Β I am expecting that many will disagree with my slice on this one, but circumstances dictate my review.Β Metal music just doesnβt inspire me the way it used to.Β The love is still there but the lust is gone. Β Obviously there are staples that I will always love, and new exceptions pop up all time time, but the truth is I would rather put on stuff like Steely Dan, Sly and the Family Stone, Grand Funk Railroad, Yes, Steve Earle, Drive by Truckers etc etc.
If I would have done these Meat Slices letβs sayβ¦20 years ago?…I probably would have panned Unmasked and praised this album.Β But now it is the opposite.Β The albumβs title track, “I Still Love You” and “I Love it Loud” are still enjoyable to me, but pretty much every other song sounds very forced and downright boring to me.Β This is what happens when a band, who was used to ruling the world, tries to regain said status by joining the new Heavy Metal revolution.Β Trying to be something they are not. Β Β The albums previous (with maybe the exception of the song “The Oath”) and the albums that followed were not Metal albums.Β The following albums have some heavy songs, but are definitely not Heavy Metal records.Β You have to fast forward a decade until they released Revenge, and even that album had some different styles within it.Β Itβs so strange to me that a Kiss record that sees Kiss trying SO HARD to be a heavy metal band, turns to Bryan Adams for inspiration?Β Whatβs Metal about that?Β Hello.Β McFly?
Rating this album was tough for me. I had to consider how much I loved it when it came out, and that the Creatures of the Night tour was my first Toronto arena concert.Β I canβt say I dislike the album, but I can say that of all the Kiss records I have revisited doing these slices, itβs this album that truly disappointed me because I went into the listen looking forward to hearing it again.
My final thoughts are this.Β Would diehard Alice Cooper fans consider Flush the Fashion a classic Alice Cooper record?Β Itβs an album I owned on vinyl and I like the album, but itβs a blatant grab at the New Wave market and sounds nothing like the rest of his career.Β Celtic Frost has done everything possible to erase the memory of the deplorable Cold Lake, since it is a very un-Celtic Frost like record for the band.Β Creatures of the NightΒ is not genuine to me.Β Most of the album sounds like the inspiration for Spinal Tapβs album, Smell the Glove. Especially the song “Heavy Duty”, and not surprisingly it was released not long after this in 1984.Β So, to end this slice I will refer to the immortal Derek Smalls and put it like this.Β Creatures of the Night is a disingenuous collection of head banging bullshit that to me is forgettable.Β It sounds square, clunky and has way too many forgettable songs on it.Β I would rather listen to Bryan Adams’ 1983 album Cuts Like a Knife. Β Β But Kiss…I still love you.
Β Favorite Tracks: Β “I Love it Loud”, “Creatures of the Night”, “I Still Love You”
Β Forgettable Tracks: Β The rest
LeBrain’s rebuttal:Β You’re Wrong on Creatures
For this Kiss Re-Review series, I have purposely avoided reading Uncle Meat’s reviews, and vice-versa, until they are ready to post. Β We wanted to avoid influencing each other. Β Creatures is an exception. Β Meat sent this to me a couple weeks ago, long before I even started my review. Β And now that I have read it…I feel like crying a single solitary tear of sadness, just like the one Gene shed in the video for “A World Without Heroes”.
Uncle Meat has a point about the switch to heavy metal music seeming like an act of desperation. Β I don’t doubt that if The Elder had been a hit instead of an abject nearly career-ending failure, Kiss would have continued in that direction. Β But we are talking about Kiss here. Β This is a band that have usually been followers, not leaders. Β Were they the first to wear makeup and heels? Β No. Β Did they invent disco with “I Was Made For Lovin’ You”? Β No. Β Going forward into the future, you will see Kiss continuing to chase other people’s sounds, such as Jon Bon Jovi and Alice in Chains. Β Even Revenge, which Meat mentioned above, seemed like an effort to bring things in line with what was happening in rock and roll.
Having listened to Creatures again for what must be the 30,000th time, my love for it is still strong. Β I’ve bought Creatures five times over the years. Β Every time I play it, I’m a 13 year old again. Β I sink into the guitar tones, which Vinnie just nailed on this album, and enjoy the booming echo of the drums. Β “I Love it Loud” no longer pitches my pup tent, but mostly due to overexposure.
On this, the Meatmaster General and IΒ will have to agree to disagree. Β It’s something we often do when it comes to music, but the benefit is that it generates rich discussions, just like this one. Β — LeBrain
Β βΒ KillersΒ (1982 Casablanca, German and Japanese versions)
No matter how you feel about Kiss’s concept album Music From the Elder, it was a commercial dud. Β It was Kiss’ first serious flop as a band since hitting the big time in 1975 with Kiss Alive!Β Β More significantly, it was part of a trend: Β Kiss chaos. Β Since the solo albums, Kiss were fragmented. Β The band weren’t playing on all the songs anymore, and members were leaving. Β They had strayed from their music roots and become a comic book novelty act. Β The Elder was not so much an album that people didn’t “get”, but one they didn’t care to “get”. Β Fans were moving on.
The European record label, Phonogram, was in damage control mode. Β They drew up plans to issue an album consisting of new and old songs; a compilation to put some money back in the coffers. Β They weren’t mucking around. Β They wanted a batch of new rock songs, but Kiss had effectively become a trio. Β Ace Frehley hadn’t left the band officially, but he was no longer involved creatively. Β Filling the guitar slot again was Bob Kulick. Β As he did on Kiss Alive II, Bob played lead guitar on the new songs. Β A 1988 book called Kiss: Still on Fire also named Ratt’s Robbin Crosby as a guitar player on the new songs, though this is a claim not backed up in any other source. Β Paul provided the new songs, written withΒ old and new friends: Β Mikel Japp, Adam Mitchell, and some Canadian guy named Bryan something. Β Bryan Adams? Β Cuts like a knife indeed! Β Adams co-wrote the lethal “Down On Your Knees”, and it wouldn’t be his last songwriting credit with Kiss either.
The best new tune in the batch was called “Nowhere to Run”, and it was one of the rockers that Kiss were working on before they decided to do The Elder instead. The sheer quality of this Stanley-penned underdog really supports the theory that doing The Elder was a mistake. Β “Nowhere to Run” was classic Stanley, as good as anything on his solo album and exactly the kind of song that Kiss should have been doing. Β In an alternate universe where The Elder never came out, what could have happened to Kiss? Β Unfortunately the new compilation called Kiss Killers was never released in North America. Β “Nowhere to Run” could do very little to change Kiss’ fortunes without being released in their native country.
The second-finest of the new songs is a little ditty called “I’m a Legend Tonight”. Β Paul has somewhat disowned these songs since, but it is really hard to understand why. Β This is a hard hitting Paul rocker, as only Paul can do. Β It’s all innuendo and hot guitar licks. Β The riff is simple and hooky, while Kulick plays for all he’s worth. Β No longer was Bob being told to “play like Ace”. Β His signature scorch really makes these new songs sound like a continuation of the Paul Stanley solo album. Β Then there is “Down on Your Knees”, the one with Bryan Adams’ fingerprints on it. Β It’s hard to tell, although it’s not outside the Adams ballpark. Β It’s a sleazy rocker, spare and sounding great. Β The new tracks were produced by Michael James Jackson, who finally captured Eric Carr’s drums properly. Β Bob Ezrin buried them under mud on The Elder. Β Kiss Killers sounds more like the real Eric Carr debut album. Β The last of the new songs, “Partners in Crime”, is the weakest of the four. Β Paul takes it down to a slow sexy grind, but “Partners in Crime” lacks the charisma of the other three.
As far as the new songs could be considered a “comeback”, it’s close but no cigar. Β There’s no discernable Demon. Β Where is Gene Simmons? Β The lack of any audible Simmons vocals makes you question whether he even played bass on the new songs. Β Regardless, Kiss is about a balance between Gene and Paul, and Killers represents the first heavy skew towards Paul.
The hits on the record make for great listening. Β Most of the key bases are covered: Β “Detroit Rock City”, “Shout it Out Loud”, “Love Gun”, “God of Thunder” and even “I Was Made for Lovin’ You”. Β There are no Peter Criss songs, and the only Frehley is “Cold Gin”, which Gene sings. Β The only ballad is “Sure Know Something”, a minor hit in Germany where this album was issued. Β In a cool touch, the record closes with the “live” (quotation marks!) version of “Rock and Roll all Nite” that made them superstars. Β It is the more well known, and arguably superior version. Β (Some of the other tracks are edits or single versions.*)
Kiss’ very first Japanese bonus tracks were on Killers. Β The Japanese version is an even better listen. Β They put a bonus track in the second-to-last position on each side: Β “Shandi” (massive hit in Australia) and “Escape From the Island” (previously unreleased in Japan — it wasn’t included on their version of The Elder). Β “Shandi” is just a great fucking song, and “Escape From the Island” is a cool inclusion because of a) its obscurity, and b) its total Ace Frehley shreddery. Β It is interesting to note, that only Japan had tracks from the two most recent Kiss albums, Unmasked and Music From the Elder. Β The rest of the world did not. Β Were Kiss already trying to bury those records?
Periodically, the new songs on Kiss Killers have reappeared on single B-sides, compilations and box sets. Β The best way to get them is just to pick up a copy of Killers. Β Choose your format, sit back and rock!
Today’s rating:
4/5 stars
* “Shout it Out Loud” is a single version with a different mix on the lead vocals and an early fade. Β “Detroit Rock City” and “I Was Made for Lovin’ You” are edited versions.
MASTODON – “White Walker” (2016 Warner 10″ picture disc single)
Disclaimer: I’ve never seen a single episode of Game of Thrones, although I will admit a crush on Emilia Clarke, and a man-crush on Kit Harington. Β And I don’t really know a lot about Mastodon. Β I know they rock — and that’s enough.
Since Sunrise Records in Kitchener opened up again back in April, I’ve been doing my best to support them. Β Taking a chance on something I haven’t heard before, and finding the artwork badass as hell, I plopped down for Mastodon’s “White Watcher” single. Β There is nothing typical about this song. Β The war drums opening the track sound as if from battle. Β The lyrics certainly paint a picture: Β a cold and desolate land full of despair. Β There is little musical backing, just some spare acoustic guitars and a few atmospheric electric licks until the haunting guitar solo kicks in. Β It’s atypical of any Mastodon I’ve heard.
The B-side is the A Cappella version of “White Walker”, with just one voice. Β I love how it reveals the imperfections of the human voice. Β It sounds like something a character on the show might be singing, before battle. Β The mourning feeling is there in the grooves of the record.
And speaking of the record, what artwork! Β The A-side is a brilliant painting of a White Walker, while the B-side is a still from the show. Β The snowy landscape and ragged people huddled around fires certainly illustrate what the song feels like. Β Incredible single.
HELIX – Live at the Marquee (1985 Capitol promo exclusive EP)
Gratuity goes to two people: Β Helix associate John Hockey who initially hooked me up with an mp3 rip of his copy of this Holy Grail rarity, and to Boppin for finding this original copy on vinyl! Β Helix’s Live at the Marquee EP is one of those releases that lots of people have heard of, but few have heard. Β First of all, it’s a promo, which means it was only distributed within the industry and never made available for sale to the public. Β Promos can be very desirable collectibles, especially when they contain exclusive music. Β Live at the Marquee was nothing but! Β In 1985, Helix had released nothing in terms of live product, not even a live single B-side. Β Live at the Marquee was the only one, and before the internet, few fans even knew about it.
For full disclosure, there is a rare Rock Candy reissue of 1984’s Walkin’ the Razor’s Edge, an unauthorized but valuable release that does contain three of the six Marquee tracks. Β That 2009 release includes “Young & Wreckless”, “Rock You”, and “Animal House” from this EP. Β The other three songs have yet to be reissued anywhere, so half of Live at the Marquee is still exclusive to the EP.
What you need to know about Live at the Marquee is that this is Helix at their prime. Β The classic lineup was in full swing: Β Brian Vollmer (vocals), Brent “Doctor” Doerner & Paul Hackman (guitars), Greg “Fritz” Hinz (drums), and Daryl Gray (bass). Β They were performing their most popular tracks from the Razor’s Edge and No Rest for the Wicked LPs. Β Starting with “Young & Reckless” and “Rock You”, it’s full octane in the tank and pedal to the metal. Β Helix were and are known as a loud band, and this EP sure sounds like it. Β They take a step back on the hit ballad “(Make Me Do) Anything You Want”. Β Helix could do love songs like that without sounding wimpy.
Side two continues with the single “Gimme Gimme Good Lovin'” (Crazy Elephant cover) which sounds like a blast. Β Helix do not get recognition for the dual guitar alliance of Doerner and Hackman as perhaps they should. Β Check out “Animal House” for more of their stellar interplay including a bit of slide. Β Finally “Heavy Metal Love” closes the record, an enduring favourite today that sounds fantastic performed by the classic band.
Over the years, fans became widely aware of the existence of this release. Β It would be listed and pictured among official discographies, but never found in stores. Β Until/unless those final three recordings become available on CD, this record should be sought after by every serious Helix fan. Β I’m happy to have a copy signed by Fritz Hinz. Β Also awesome? Β John Hockley hooked me up with a CD copy of the Rock Candy release of Razor’s Edge, signed by all four surviving members of the classic Helix band. Β Thank you John, and rest in peace Paul Hackman.
STRYPER – Fallen (2016 Frontiers, Marquee Japanese import)
As far as this writer is concerned, Stryper are the reunion kings. Β Their 80s output featured fantastic singles like “Calling to You” and “Free”, but many of the albums were uneven and not as rockingΒ as you knew they wanted to be. Β Since their heavy-as-hell (pun intended) comeback album Reborn (2005), Stryper have been off the leash. Β It seems they gave up trying to fit in to any specific mold and are just trying to be true to themselves through their music. Β 2016’s incredible Fallen could be the pinnacle of the reunion era.
Unabashedly Christian, the opening track “Yahweh” happens to be one of the most potently epic slices of rock I’ve heard. Β A choir sings “Yahweh, Yahweh…” while lead wailer Michael Sweet spits out of his words as few singers in metal can do. Β His range is still remarkable and he has lost none of his lung capacity. Β There are Maiden-esque riffs, latter-day Metallica grooves, and some seriously epic solo work by Sweet and guitarist Oz Fox. Β And that’s all in just the first 6:21 of the album. Β It’s strange to say, but you could compare “Yahweh” to similar epic tracks by Ghost.
“Yahweh” may be the most impressive track on a very good metal album, but it’s certainly not the only one. Β The cool descending riff that accompanies “Fallen” bites into your flesh, while Sweet’s chorus lifts the ceiling. Β There is also material that sounds like old school Stryper, such as “King of Kings”, “Big Screen Lies” and “Pride”. Β These songs boast big and classic sounding choruses and riffs. Β Stryper even snuck in a Black Sabbath cover (not their first) of “After Forever”. Β The words fit Stryper like a leather studded glove:
Perhaps you’ll think before you say that God is dead and gone, Open your eyes, just realize that He is the one, The only one who can save you now from all this sin and hate, Or will you still jeer at all you hear? Yes, I think it’s too late.
A lot of people forget how Christian that particular Sabbath lyric is! Β Very amusing how much flack metal took from the church in the 80s, all the while “After Forever” dated back to Master of Reality in 1971! Β Granted, I’m certain that most Catholics wouldn’t appreciate the line “Would you like to see the pope on the end of a rope, do you think he’s a fool?”
Whether you are a believer (it’s not a requirement) or just a worshipper at the altar of St. Halen, Stryper serves up plenty of hot metal on Fallen. Β The modern grooves of “Heaven” and “Let There Be Light” are two that should appeal to many, and long time fans of Stryper will go bananas for the emphasis on melodies and choruses. Β And Stryper didn’t forget their ballad fans, either. Β “All Over Again” is a typical bombastic Stryper ballad, but not with the extra saccharine they used to utilize in the 80s. Β And if that is too bombastic for you, check out the acoustic version included as a Japanese exclusive bonus track. Β I think I prefer the bare acoustic version, but I’m also getting tired of getting acoustic versions as my Japanese bonus tracks. Β It seems the go-to bonus track lately has been the acoustic version.
Rest assured, Stryper have not Fallen. Β Quite the opposite. They continue to soar on mighty wings of metal.
DEEP PURPLE – In Rock (1970, 1995 EMI anniversary edition)
Deep Purple In Rock: Β The title speaks mountains about the music. Β They didn’t want there to be any question regarding what kind of band Deep Purple were. Β The first version of the band, Deep Purple Mk I, made three psychedelic but still clearly rock and roll albums. Β Wanting to rock harder, they ditched singer Rod Evans and bassist Nick Simper, and brought aboard Ian Gillan and Roger Glover. Β However the first album released by Deep Purple Mk II was…Concerto for Group and Orchestra? Β There was also a wishy-washy gospel rock single called “Hallelujah” that went nowhere. Β Indeed, there was some confusion in terms of public perception. Β In Rock was designed from the start to reaffirm.
With In Rock, producer Martin Birch commencedΒ a long and fruitful relationship with Deep Purple. Β The single was a track called “Black Night” which, oddly enough, wasn’t on the album. Β It was a response to a record label request for a single, so the band nicked the bassline from Gershwin and wrote a simple rock track with nonsensical lyrics. Β It was an immediate hit. Β Appropriately, the original single version of “Black Night” is included on this 25th anniversary edition of In Rock.
The B-side to “Black Night” was an edited version of opening album track, “Speed King”. Β The full length version was even edited down for some releases of the In Rock album, except in the UK. Β Almost a minute of noisy instrumental freakout explosively starts the full enchilada. Β This leads to a calming, light Jon Lord organ, misleading you into thinking the onslaught is over. Β Think again.
“Speed King” is a quintessential Deep Purple track, cementing their instrumental prowess and lyrical credentials. Β The sheer velocity of the track alone packs a whallop, but the sonics are just as powerful. Β “Speed King” has a deep, gut-punching heaviness. Β There is also a long instrumental section, custom built for the jam-loving audiences of the era. Β The words are cut and pasted from classic rock and roll hits in one stream of consciousness. Β The best word for “Speed King” is “exhausting”. Β Listening through feels like you just finished a sprint. Β The band were trying to capture the same vibe as Jimi Hendrix’s “Fire”, but overdid it just a smidge!
And what of that new singer? Β Ian Gillan didn’t get to do much screaming in his previous band (with Glover), Episode Six. Β In Deep Purple, his unmistakable wail sets world records for pitch and volume. Β Without Ian Gillan, there would be no Bruce Dickinson, and therefore Iron Maiden could never have existed as we know it today. Β In Rock features Ian at his peak powers. Β Nobody can touch In Rock, not even Bruce in his prime.
“Bloodsucker” is a vintage, grinding organ-based groove. Β In Rock has a very bass-heavy mix, but clear and defined. Β This helps the low growling Hammond combine with Roger Glover’s pulsing bass to form a wave of sound. Β Ride that wave on “Bloodsucker”, with a cool double-tracked Gillan vocal that keeps the thing slightly off-balance. Β Drummer Ian Paice can never be underappreciated, and in 1970 he was one of the hardest hitters on the field. Β “Bloodsucker” leaves Β massive Yeti footprints because Β of that beat.
One of the most important songs in the Deep Purple canon is “Child in Time”, a 10 minute composition of light and shade that transforms as you listen. Β As it begins gently, Ian Gillan gets to utilize the soothingΒ side of his voice. Β “Child in Time” is almost a lullaby…until it is not. Β Wait for the ricochet. Β This album is called Deep Purple In Rock after all. Β Not Deep Purple In Bed or Deep Purple At Church.
In 1970, this would have been the moment you get up and flip the record. Β To do that, you would have to peel yourself from the floor.
The second side of In Rock features lesser played tracks, but no less impressive. Β “Flight of the Rat” takes off amidst a Blackmore guitar rocket riff. Β Though fast, it is a step off the pedal from “Speed King” and with enough vocal melody to keep one hanging on. Β Lord and Blackmore both solo, fighting to be champion but with no clear winner. Β All the while, Glover and Paice keep the pulse going through the time changes. Β Then it is “Into the Fire”, a rarely played unsung classic that the band resurrected on tour in 2000 and 2014. Β Bopping heavily along, “Into the Fire” will burn if you let it. Β Then the drums of “Living Wreck” fade in, with a incredibly deep natural echo that you feel in the bones. Β The snare sound rings sharp. Β “Living Wreck” was actually one of the first tracks taped, and just listen to Ritchie Blackmore’s tone on the lead solo! Β This is truly a triumph of studio recordings.
Finally “Hard Loving Man” closes In Rock with one of the heaviest Purple riffs in their history. Β Deep Purple invented the heavy metal chug on “Hard Loving Man”. Β Meanwhile Jon Lord contributes to the sludge by hitting as many keys simultaneously as he seemingly can! Β What a track, and much like “Speed King” at the start, it leaves you beaten and out of breath.
No Deep Purple album has come close to In Rock for brute strength. Β The band and Martin Birch truly captured something special in the studio, back when that meant finding the right amp for the right instrument in the right room. Β It’s much like alchemy, only real. Β In Rock is an artifact of the way they used to do it, and evidence of why it can’t seem to be repeated. Β The monument on the album cover was an apt indicatorΒ of whatΒ the new Deep Purple sounded like.
The 25th anniversary edition contains a wealth of bonus material, interspersed with amusing studio chat, such as:
Jon Lord (singing): Β “I smashed the microphooooone.”
Martin Birch: Β “Are you going to hit it again?”
Jon Lord: Β “I don’t think so.”
In addition to the original single “Black Night”, there is a fascinating alternate take of “Speed King”. Β The band were toying with a version featuring piano instead of organ, which completely changed its character. Β This version was recorded and accidentally released on a single instead of the proper one. Β Here it is as a bonus track, showing you a work in progress and what could have been.
Then we have a Roger Glover remix of “Cry Free”, one of the earliest songs recorded (30 takes total) but ultimately rejected. Β It was first released on the 1977 posthumous Deep Purple album Power House, one of many releases that EMI put out during the period the band were broken up. Β Glover oversaw remixes of many of Deep Purple’s reissues beginning here. Β The differences are subtle but not unnoticeable. Β Glover also remixed “Black Night” (more on that later), “Flight of the Rat” and “Speed King” (including intro) for these bonus tracks. Β They might be described as “fuller sounding”. Β “Black Night” was expanded to include a previously unheard outro. Β Then there is “Jam Stew”, an instrumental with a chicken-pickin’ lick that has been all but forgotten. Β It was played for the BBC once with improvised vocals; that version can be found on BBC Sessions 1968-1970. Β Ritchie used the riff laterΒ in 1970 forΒ a side project album called Green Bullfrog.
With these bonus tracks, the In Rock anniversary edition is expanded from 43 to 78 minutes. Β For fans that needed every last morsel, there was still one more release to be found. Β To coincide with the anniversary edition in 1995, EMI released a limited and numbered CD single of “Black Night”. Β (How many made? Β I don’t know, but I have #2908.) Β This three track single has two versions not on the In Rock CD: Β a single edit of the “Black Night” Glover remix, and a “matching mix” by Glover of “Speed King”. Β This “matching mix” seems to be an edited remix without the noisy intro. Β They’re not essential except to the collector.
To date, this 1995 anniversary edition is still the only expanded edition of In Rock. Β With the rare photos and expansive Simon Robinson essay inside, it is the obvious definitive edition, 22 years reigning strong. Β They even tried to get Ritchie Blackmore involved with the reissue. Β He offered one quote for the booklet: Β “This is my favourite LP along with Machine Head.” Β Be very careful if seeking out a mint condition copy of this CD. Β The jewel case itself is very special. Β The autographs and notes on the front cover are not on the front cover. Β They are etched into the plastic of the jewel case. Β Mine is safely enclosed in a scratch proof plastic sleeve, but finding an original jewel case intact will not be an easy task on the second hand market.
JUDAS PRIEST – Ram It Down(Originally 1988, 2001 Sony remaster)
Judas Priest seemed pretty lost in the late 80s. Β They were bigger than ever, but they lost focus of their musical direction. Β Producer Tom Allom had cursed them with a robotic plod, far removed from the lively firepower of yesteryear. Β When they released Turbo in 1986, they had gone as far down those roads as possible. Β It was am ambitious departure, but 100% a product of the 1980s.
For Turbo, Priest had written enough songs for a double album. Β Twin Turbos, as it was to be called, was supposed to reflect all facets of metal, but the record comany got cold feet and a single disc was issued. Β It contained the most techno-commercial tracks, while Priest held onto the rest for another day. Β That day came in 1988 when Priest (again with producer Tom Allom) released Ram It Down, largely made up of Turbo outtakes. Β The album was hyped as a return to the heavy Priest of yore, and this was at least partly true, but fans were unconvinced by it. Β In comparison with Turbo, yes, Ram It Down was heavier. Β But Priest had gone as far as they could with Allom. Β Ram It Down was too sterile and bogged down with filler.
Certainly the title track opens Ram It Down on a thrash-like note. Β As if to silence to critics, it was a proud metal statement with an opening Rob Halford scream that curdles the brain. Β The weakness is drummer Dave Holland on his final Priest outing. Β Only when Scott Travis joined Priest in 1990 did they acquire a drummer who could play the kind of beats at the speed they needed. Β On Ram It Down, Priest were held back by the drummer and clunky production, two mistakes they fixed on 1990’s Painkiller. Β The lyrics also seem dumbed-down for the 80s. Β “Thousands of cars, and a million guitars, screaming with power in the air,” is cool but cliche.
“Heavy Metal” is more of the same lyrically, an ode to the power and glory of power chords. Β Rob Halford’s performance is fantastic, and the man has rarely sounded as fantastic as he does on Ram It Down. Β You can’t say the same for the words, the highschool equivalent of poetry. Β On the music front, Priest were now following rather than leading. Β They were on the same clunky metal trip as bands such as Scorpions at the same time. Β There audible Kiss and Whitesnake influences on the album, with Rob sometimes sounding like he was trying to write a Gene Simmons tune. Β “Love YouΒ to Death” on side two sounds right out of the Demon’s closet. Β The embarrassingly terrible Β “Love Zone” and “Come and Get It” both sound as if Coverdale co-wrote them on the sly. Β Whether Priest were consciously copying other bands or just lost, who knows. Β (“Love Zone” is one of the few songs that Halford almost seemed to write gender specific. Β “With your razor nails and painted smile” are not specifically referring to a female, but certainly that was the general assumption.)
There are definitely a few cool tracks that deserve mention. Β The first is “Hard as Iron” which had to be one of the fastest Priest songs to date. Β It’s still held back by the production, but has some serious energy to it. Β Like metal espresso injected right into the brain! Β The other standout is “Blood Red Skies”, a forgotten highlight of this album and indeed of the Priest catalog in general. Β (I actually used “Blood Red Skies” in a poetry project for school. Β A girl liked it so much she asked for a copy of the lyrics.) Β Using the synth effectively, “Blood Red Skies” paints a Terminator-like future with humans hunted by beings with “pneumatic fingers”, “laser eyes” and “computer sights”. Β Halford Β pours power and anguish into it, as a human freedom fighter. Β “As I die, a legend will be born!” Β Cheesey? Β Absolutely. Β Priest perfection? Β Yes indeed!
There are also two mis-steps on Ram It Down that must be addressed. Β The first and most obvious is “Johnny B. Goode”, from the 1988 movieΒ Johnny Be Good starring Anthony Michael Hall and some guy named Robert Downey Something. Β This track should have been kept off the album. Β As a novelty single, sure, you can dig it. Β It’s a stereotypicalΒ cliche-ridden metal cover, and that’s fun for a goof. Β As a Priest album track, it only serves to completely destroy any momentum that Ram It Down managed to build. Β Then there is “Monsters of Rock”. Β This awful excuse for a song is only 5:31 long, but seems twice that. Β It is the prototype for the even more awful “Loch Ness” from Angel of Retribution. Β Most buyers probably didn’t finish listening to the album because of this bloated and aimless track.
The Priest Re-mastersΒ collection had two bonus tracks per studio album. Β Ram It DownΒ provides two completely unrelated but great tracks: Β live versions of “Bloodstone” and “Night Comes Down”. Β The liner notes don’t state when they were recorded, but live versions of either are always welcome in any Priest collection. Β It’s interesting that bonus tracks from these actual sessions, such as “Red, White and Blue”, were used on other CDs but not Ram It Down.
Priest may have known Ram It Down wasn’t the metal album they hoped to make. Β They cleared house afterwards. Β Dave Holland and Tom Allom were done, and there is no question that Painkiller was superior to Ram It Down because of that.
EUROPE – Best Ballads (1999 unofficial Russian compilation)
/5Β ΠΠΠΠΠΠ«
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