HOLLYWOOD ROSE – The Roots of Guns N’ Roses (2004 Deadline)
Hollywood Rose were one of several bands that eventually morphed into the original Guns N’ Roses. Already on board were singer William Bailey (Axl Rose) and guitarist Jeff Isbell (Izzy Stradlin). Guitarist Tracii Guns (L.A. Guns) was in and out of the band. Drummer Johnny Kreis and guitarist Chris Weber were later replaced by Steven Adler and Slash respectively, who came in together via their old band. It’s a complicated tangle of ins and outs and interchanging members but what’s important is that Hollywood Rose did record a crucial five-song demo in January of 1984. This demo was finally released on CD in 2004 with 10 (!) remixes, and now we get to hear what Guns N’ Roses sounded like as a fetus in the womb!
Unfortunately this CD releases has been padded out by having each song in triplicate. Each track is presented as a) the original demo, b) a remix by Gilby Clarke, and c) a remix by Fred Coury. Cinderella’s Coury, you may recall, sat in with Guns N’ Roses briefly when Steven Adler broke his hand in ’88.
No mercy is to be had on “Killing Time”, an aggressive and ragged assault that foreshadows Guns greats such as “Reckless Life”. It’s similar in construction to “Comin’ Atcha Live”, a later song by Tesla. Axl is in vintage voice, not quite yet in control, but with all the power at his command. The Guns sound is already present on “Anything Goes”, later modified and released on Appetite for Destruction. The riff, later perfected by Slash, is already present and accounted for, although the verses are very different. The chorus is a little out of control, yet to be tamed into a singalong melody. What’s incredible is that the Guns sound was already there, waiting to be properly harnessed and unleashed upon the world. Izzy and Axl created that sound; it came originally from those two guys. Slash and the rest of the guys just had to add the finishing touches.
Track 3 is a Rose/Weber original called “Rocker”. A sloppy punk metal riff and a killer Axl lead vocal make for a passable tune. (I would love it if a reunited Guns would one day pull a “Van Halen” and remake these old unreleased songs…one can dream.) “Rocker” is more metal than you expect from Guns, but it has that sloppy, dangly cigarette vibe that the band embodied.
“Shadow of Your Love” was later re-recorded by Guns N’ Roses as a demo and released on the B-side to “Live and Let Die”. This is the original “Hollywood Rose” demo however, a more basic bare-bones version of the speed rock classic. The last demo is “Reckless Life”, better known as the opening track on GN’R Lies. It obviously evolved quite a bit as a Guns N’ Roses song, because this seems more like a skeleton of the song. It’s still breakneck fast, but the verse riff isn’t there yet.
These five songs indicated there was a cutting edge band here that needed to be heard. They could not have had the same success in this incarnation. They clearly needed Steven and Duff in the engine roof, and Slash laying sticky guitar toffee on top. The bones were already there, and it’s absolutely historic to hear these early demos of such important hard rock songs. The impact that they would have, as a foundation for something bigger, cannot be understated.
That said, as songs they still had a little ways to go, and I don’t think we really needed each song three times in one sitting. I’m not sure why Gilby was involved (except that he was in Guns N’ Roses too, from 1992-1994). I’ll be damned if I can pick out specific changes he made with his remixes, but most of the songs are different lengths so he obviously did stuff! Gilby did have Tracii Guns come back to Hollywood Rose and overdub new guitar solos for “Shadow of Your Love” and “Reckless Life”. These guitar overdubs do succeed in making the demos more exciting than they were. The Coury remixes are probably most notable for a distinctly different drum sound.
The Roots of Guns N’ Roses by Hollywood Rose is an essential collector’s item for any serious Guns fan. You don’t want to be without this. I just don’t think that two complete sets of remixes were necessary.
RECORD STORE TALES MkII: Getting More Tale #381: There’s Only One Way to Rock
Back in 1981, the philosopher Samuel Roy Hagar announced that there is “only one way to rock”. He made his case on the song “There’s Only One Way to Rock” from Standing Hampton, a song that he later performed in Van Halen. An except of Sammy’s argument is below:
I’ve heard it called by different names All over the world, but it’s all the same Now there’s so many ways to make love A million ways I been thinking of, oh yeah
But there’s only one way There’s only one way to rock, yeah
While Hagar is normally quite convincing, I have to disagree with him on this matter. In fact I was able to think of at least five ways to rock while on my lunch break. I am sure you can think of many more. How many ways to rock are there? Here are five of my personal favourites!
I have never liked Angry Machines. Right from the moment it came out, to today, I do not like Angry Machines. It’s not because I don’t like this Dio lineup. I’m quite fond of the Strange Highways record, which features the same band (Jeff Pillson – bass, Vinny Appice – drums, Tracy G – guitars). Given my fondness for that previous record, and the awesome cover art emblazoned upon Angry Machines, I was looking forward to this album. Now, all these years later, even cranked to max volume it has failed to grow on me and remains my least favourite Dio album by a fair margin.
When Dio gets his hands on a treacherously slow heavy metal song, he can sometimes wring great things from it. Angry Machines, however, is bogged down with many agonizingly slow, soundalike trudgy songs. The opener “Institutional Man” almost resembles Born Again-era Sabbath at times for sheer slow chug, but it lacks any sort of hooks. Ronnie is bellowing as incredibly as he always has, but he’s grasping for a melody to hang his powerful voice on. The saving grace is a razor sharp guitar solo by Tracy G.
Thankfully “Don’t Tell the Kids” is a speed metal rocker. I didn’t expect Ronnie to take it to Motorhead tempo, and that’s cool. Lack of hooks is the problem again, so you’re left with little but the smoking instruments to carry you through. MVP: Vinny Appice who has never sounded so lively!
The disc gets stuck in the mud after “Don’t Tell the Kids”. The atonal “Black” doesn’t do anything for me, although I do admire the stripped-back production (by Ronnie and engineer Wyn Davis). I dig Jeff Pilson’s bass hook on “Hunter of the Heart”, and the chorus is pretty good, but the song is mostly forgettable. Then is the slow and boring “Stay Out of My Mind”, a real snooze. A 7-minute snooze with an extended keyboard segue! Continuing with the mind control theme, “Big Sister” isn’t much to write home about either, except in terms of Vinny’s relentless sticks.
“Double Monday” has cool acoustic segment, very unlike typical Dio. Unfortunately this one section does not save the song which is otherwise dreary and grating. Up next, I enjoy the vintage groove of “Golden Rules” but again there’s not much of a song here. Same goes for the penultimate track “Dying in America”.
You may already be familiar with the best song on Angry Machines, a piano ballad called “This is Your Life”, that was re-released on the 2014 tribute album of the same title. When I reviewed that excellent CD, I had this to say of “This is Your Life”:
Fittingly, the album ends on a ballad: Dio’s own somber “This Is Your Life”, performed by the man himself in 1996. I did not like the Angry Machines album, but if there was one song I would have picked as a highlight it would be “This Is Your Life”. Performed only by Dio and Scott Warren on piano, it is unlike anything else in Dio’s canon. The lyrics speak of mortality: “This is your life, This is your time, What if the flame won’t last forever? This is your here, This is your now, Let it be magical.”
The always lucky Japanese fans received a bonus track with the cool title of “God Hates Heavy Metal”. Although I am intrigued I have not been motivated enough to search it out.
Alas, it’s the end of THE BEST FUCKING COLLABORATION WEEK EVER!* I made a five disc Judas Priest box set for Aaron a while ago. Let’s take a close look at the tracks. Dig in!
RECORD STORE TALES MkII: Getting More Tale #380: Custom Priest Box Set Mania!
I’ve known Aaron, your incredible co-host over at the KeepsMeAlive website, for almost 20 years. For most of those 20 years we haven’t lived in the same town, so we kept in touch via email, text messages, and physical mail. It wasn’t that long ago that we were sending each other parcels semi-regularly, including musical gifts and mix CDs. Mix CDs are an art that we both take very seriously.
At one point Aaron had expressed interest in hearing more Judas Priest, so I took it upon myself to create a custom box set, by me, for him. The official Metalogy box set is pretty good, but as I said in my review for it, “just not the box set that I would have made given the opportunity.” Aaron gave me the opportunity so I decided to out-do Metalogy and go for a full five discs, and update him to the then-current Priest album Nostradamus.
I found a track listing that I drafted for that very set. The final CDs that I made for him may have differed, because I was rough-guessing my disc times here. As close as I have records of, this is the box set that I burned for Aaron. Let’s take a look at it disc by disc and see how it holds up.
Rocka Rolla – The Old Grey Whistle Test
DISC 1
1. One For The Road
2. Rocka Rolla
3. Diamonds and Rust
4. Dreamer Deceiver
5. Deceiver
6. Cheater
7. Caviar and Meths
8. Prelude
9. Tyrant
10. Dissident Aggressor
11. Better By You, Better Than Me
12. Race With The Devil
13. Stained Class
14. Beyond The Realms of Death
15. Exciter
16. Delivering The Goods
17. Rock Forever
18. Burnin’ Up
19. The Green Manalishi (With The Two-Pronged Crown)
20. Take On The World
21. Hell Bent For Leather
In my Metalogy review, I complained about the absence of “Rocka Rolla” and “One For the Road”. I have fixed that oversight here, but at the cost of “Never Satisfied”. It’s not the perfect trade-off. The ending to “Never Satisfied” was as epic as early Priest got, so it is a win for a loss. I replaced the live “Diamonds and Rust” with the studio version though, so that is a good thing for a listener like Aaron. I like that I included the rare “Race With the Devil”, a cover of The Gun. There is also a healthy dose of Hell Bent for Leather/Killing Machine. I’m not sure what I was thinking with the track order, but I probably modified that before I burned the final CD.
When the Tax Man comes for Priest’s money, he loses his head and pants!
DISC 2
1. Victim of Changes (Live)
2. Sinner (Live)
3. The Ripper (Live)
4. Breaking The Law (Live)
5. You Don’t Have To Be Old To Be Wise
6. Living After Midnight
7. The Rage
8. Desert Plains
9. Heading Out To The Highway
10. Troubleshooter
11. Turnin’ Circles
12. Riding On The Wind
13. (Take These) Chains
14. Bloodstone
15. You Got Another Thing Comin’
16. Devil’s Child
17. The Hellion / Electric Eye (Live)
18. Steeler (Live)
I see here that I included the live versions of “The Ripper” and “Victim of Changes”. I suppose that I left these on, because Unleashed in the East is such a critical live album. It simply must be represented on a box set like this, so I chose to keep a few songs, some of the best ones. I also like to include rare tracks, so I snagged the live “Steeler” from the radio broadcast CD called Concert Classics. I see a lot of personal favourites on this CD, especially from Screaming for Vengeance. Pretty damn fine disc!
In the dead of night, Love Bites
DISC 3
1. Love Bites
2. Jawbreaker
3. Rock Hard Ride Free
4. The Sentinel
5. Some Heads Are Gonna Roll
6. Night Comes Down (Live)
7. Heavy Duty
8. Defenders of the Faith
9. Turbo Lover
10. Parental Guidance
11. Reckless
12. Out In The Cold (Live)
13. Metal Gods (Live)
14. Freewheel Burning (Live)
15. Ram It Down
16. Hard As Iron
17. Blood Red Skies
From Defenders of the Faith to Ram it Down, the 80’s can be a tricky period of Judas Priest to navigate. This third CD could have been the worst. I opened with the studio version of “Love Bites”, where Metalogy utilized an unreleased live version. I think it makes a great disc opener. For rarities I went with the live “Night Comes Down” instead, a great version from the Priest Re-Masters. I also had to represent Priest…Live! from this era, so I chose its dramatic concert opener “Out in the Cold” as a live version. The live version of “Metal Gods” from that album is more melodic than others, so I went with it too. I look at this disc as some of the very best Priest from this period.
Priest with Ripper – Blood Stained, live in London
DISC 4
1. Heart of a Lion (Demo)
2. Painkiller
3. Hell Patrol
4. One Shot at Glory
5. Jugulator
6. Rapid Fire ‘98
7. Burn In Hell
8. A Touch of Evil (Live)
9. Blood Stained (Live)
10. One On One
11. Feed On Me
12. What’s My Name
13. Running Wild (Live)
14. The Ripper (Live)
15. Diamonds and Rust (Live)
16. The Green Manalishi (With The Two Pronged Crown) ‘98
There it is! “Heart of a Lion” is one of the best rare Priest demos, only available on the Metalogy box set, but recorded in the Turbo era. It would make a good disc opener, but following it with “Painkiller”? I’m not sure about my transition there. It could be like a sledgehammer of awesome, or it could be an awkward stumble. I think the most difficult mixture of different periods has to be the sudden change of lead singers. When Tim “Ripper” Owens replaced Rob Halford on 1997’s Jugulator, the band’s sound changed. That’s probably why I chose a remake of the oldie “Rapid Fire” to be one of the first Ripper songs on this CD. There are also plenty of live versions here of old Priest classics, from the various live albums Priest did with Ripper. “Blood Stained” was a live take on a new Ripper song, from their ’98 Live Meltdown album. I think it’s vastly superior to the original version on Jugulator. “What’s My Name” is included as a rare B-side from the Japanese version of Demolition. On the whole I think this is a pretty good CD representing a difficult period in Priest history, and in hindsight it could use more tracks from Painkiller.
The Hellrider, live — same version that I used
DISC 5
1. Judas Rising
2. Revolution
3. Worth Fighting For
4. Demonizer
5. Angel
6. Hellrider (Live)
7. Between the Hammer & the Anvil (Live)
8. Eat Me Alive (Live)
9. Dawn of Creation
10. Prophesy
11. Revelations
12. Death (Live)
13. Persecution
14. Calm Before The Storm
15. Nostradamus
I remember having a really hard time with this disc. I wanted to give Nostradamus a fair shake, but as a double concept album it didn’t lend itself well to chopping up into bits for a mix CD. By the time I got to this mix CD, all I had left to include were two studio albums (Angel of Retribution and Nostradamus) and a live album (A Touch of Evil) to utilize. The version of “Hellrider” from that live album is among my favourite tracks due to Rob Halford’s over the top screaming. This disc doesn’t appear to have any rarities among its tracks. Not a bad disc but I think I could have done better here.
I remember having difficulty burning the CDs to my satisfaction. There was some quirk happening with my Nero version, and ultimately I just abandoned the project and sent the discs to Aaron. Apparently I didn’t even bother making a track list or covers for him.
Making mix CDs to my own satisfaction is a lot of work. I know I sunk a lot of time into this Priest set, ripping the discs and meticulously choosing the songs. Ultimately though, it was just fun to hand pick the Judas Priest songs to help Aaron in his exploration of this awesome band.
For today’s installment of THE BEST FUCKING COLLABORATION WEEK EVER, Aaron and I are actually reviewing different albums. Sort of. He’s doing Pure Cult: For Rockers, Ravers, Lovers, and Sinners. I’m doing Pure Cult: The Singles 1984-1995. Same album, different versions thereof with slightly different tracklistings. Dig in!
THE CULT – Pure Cult: The Singles 1984-1995 (2000 Beggars Banquet)
The original 1993 Pure Cult was great. It didn’t need to be updated only seven years later, but given the chance to remaster and repackage something must be irresistible to cigar-chewing execs.* The remastering ushered in a series of Cult reissues, coinciding with a reunion tour. There was also an issue with an unauthorized UK compilation from 1996 called High Octane Cult. That CD, which contained an exclusive new song called “In the Clouds”, was discontinued and replaced by this new Pure Cult, which re-released “In the Clouds” on its tracklist.
“In the Clouds” is a smashing song, heavy as a really heavy thing, from 1995. It was recorded for a potential followup to 1994’s The Cult, but released on High Octane Cult when the band split up. The sound points towards the heavy metal direction of 2001’s Beyond Good and Evil. The hard hitting snare of drummer Garret is deliciously snappy. Although “In the Clouds” isn’t particularly memorable on its own, I love when the Cult go really heavy. That makes this an unsung classic.
As for Pure Cult: The Singles, “She Sells Sanctuary” still opens affairs as it did on the old Pure Cult. It remains as shimmery as it was in the glow of the 1980’s. Ian’s irresistible howl doesn’t remind me of Morrison one bit actually, but let’s not forget Billy Duffy and his big white Gibson. Duffy has always been about his guitar sound, which changes from album to album. It seems his guitar sets the tone for the album, and “She Sells Sanctuary” benefits from his echo-laden Edge-isms.
The first six songs on the CD are the same running order as the original. I have always been fond of the Cult’s Sonic Temple period, and “Fire Woman” has aged remarkably well. Say what you will about Bob Rock, his production has stood up on this track. Back then, he was trashed for glossing up the Cult’s sound too much. By today’s standards, this is a sparse production! But if you like it basic, “Lil’ Devil” produced by Rick Rubin is excactly what you need. The Electric period is universally celebrated by Cult diehards as a high point, and you can see why on “Lil’ Devil”.
I dig Dreamtime‘s “Spiritwalker”, but I think “The Witch” is really cool. Produced once again by Rick Rubin but going in a completely different direction, “The Witch” brought electronic dance beats to the Cult giving them an industrial edge. “The Witch” was released on the soundtrack to a movie called Cool World in 1992, but it received wider exposure the following year on the original Pure Cult. Regardless of a strong chart performance for the song, the Cult chose not to go with Rick Rubin for their next album and instead returned to Bob Rock! “The Witch” remains a cool experiment and a great song.
Love‘s “Revolution” is still one of my favourite Cult ballads, and it helps you come down from the rush that is “The Witch”. The “Love Removal Machine” and “Rain” keep the classic momentum brewing, but this is the first deviation from the original Pure Cult running order. “Wild Hearted Son”, a hard rocker from 1991, has been moved to the end of the album, though it originally fell after “Revolution”. Then “In the Clouds” takes us fully into heavy modern Cult territory. 1994’s “Coming Down (Drug Tongue)” represents the alterna-Cult that responded to the grunge onslaught. These two newer songs don’t replace any others at this point on Pure Cult; rather they are inserted between “Rain” and “Edie (Ciao Baby)”. Ceremony‘s “Heart of Soul” follows “Edie” for over eight minutes of power balladry, but since it’s The Cult we are going to let it slide.
The song “Love” has been deleted from the running order, and we go straight into the classic “Wild Flower”. Every bit as good as “Love Removal Machine”, these hits are still slamming today. “Star” from 1994 is unnecessarily inserted into the track list here, a forgotten single that nobody really cares about. “Go West” and “Resurrection Joe” from Dreamtime are flipped in order; now “Resurrection Joe” comes first. I like the jittery early Cult, but it’s stunning how they change from album to album. “Sun King” is an interesting choice from Sonic Temple, though I do love the song, it wasn’t that well known as a single. “Wild Hearted Son” is dropped in here, in single edit version without the intro. Finally “Sweet Soul Sister” closes the CD, in its music video mix which is a nice track to have since it wasn’t even on the CD single. Unfortunately the original ass-kicking closer “Earth Mofo” has been deleted! That is truly a shame, since it is such a rush of a rock song.
Ultimately Pure Cult: The Singles 1984-1995 has one more track overall compared to the original release. Unfortunately I don’t think it’s quite as good.
4.5/5 stars
*This CD was followed by the release of the 7-disc box set Rare Cult (a review of which is coming this year), and a compilation called Best of Rare Cult!
All week, Aaron over at theKeepsMeAliveand I will be colluding. Monday to Friday, we will be talking about the same CDs. He hasn’t read my reviews, and I haven’t read his. Today, we’re both discussing Quiet Riot‘s landmark Metal Health. Be sure to check both reviews each day this week!
QUIET RIOT – Metal Health (1983, 2001 Sony remastered edition)
While my first rock album ever was Kilroy Was Here, by Styx, my first metal album ever was this one: Metal Health, by Quiet Riot. Although I was really into Styx, Quiet Riot were the first band that I “loved”. Some music that people liked when they were in grade school embarrasses them today that they ever owned it. Not me, not this album. Since buying it in ’84, I’ve owned this album on cassette, LP and twice on CD. And I’ll probably buy it again; I understand there is a more recent reissue out with more bonus tracks. Metal Health was the crucial cornerstone in my musical development, and always will be one of my all-time favourites. Read on!
The opening drum crash to “Metal Health”, sometimes also referred to as “Bang Your Head (Metal Health)”, instantly transports me back in time. Chuck Wright played bass on this one, extra slinky and funky (although Rudy Sarzo plays on most of the album). Suddenly I’m in the basement at my parents’ house, listening to this cassette on my old Sanyo ghetto blaster. I still recall, the cassette shell was white. I played the crap out of it, annoying everyone.
“I got a mouth like an alligator” sings lead howler Kevin DuBrow, and how accurate he was. I had no idea that Kevin’s mouth would cause the band to oust him only a few years down the road. I liked the attitude of the lyrics, and the aggression of the guitars. Impossible to ignore was new drummer Frankie Banali, who to this day is an absolute ballcrusher of a hard rock drummer. His metronomic groove on Metal Health gave it the drive. I wouldn’t have been able to break it down and articulate it like that when I was a kid, but these are the factors that attracted me to the song.
“Cum On Feel The Noize”, the Slade cover, is now more famous than the Slade original or Oasis’ version for that matter. It’s a great tune, but Quiet Riot and producer Spencer Proffer nailed the sound and the vibe. The gang vocals are irresistible. The cover was a huge hit, but it painted them into a corner.
Much like my first rock purchase Kilroy Was Here, there were songs I liked and songs I hated. I don’t think I was the only 12 year old kid who didn’t have the patience for ballads. Girls? Who cares! So I also hated “Don’t Wanna Let You Go”. I wasn’t obsessive about listening to whole albums back then, since I was brought up in the LP age where we just dropped the needle. So I often fast-forwarded through “Don’t Wanna Let You Go”. Or we would play side one of the cassette, rewind, and play it again. (“Don’t Wanna Let You Go” was on side two of the cassette version). Shortly after I suddenly noticed girls were EVERYWHERE, the song started to click with me. Its sparse arrangement driven by Frankie’s drums make it a really special song. Carlos Cavazo’s guitar solo had melody and composition to it, and drew my attention to the fact that a guitar solo wasn’t just a 30 second bore, but a micro-structure within the song, like a song all its own.
“Slick Black Cadillac” is a remake of a song from the second Quiet Riot album (cleverly titled Quiet Riot II) although we didn’t know that at the time. “Slick Black Cadillac” is simply a classic today, and even though there isn’t a Randy Rhoads writing credit on it, you can hear the echo of his influence in Carlos’ guitar fills. The lyrics to this song are so catchy, and soon you too will be singin’ about those solid gold hubcaps. I was attracted to songs that told a story, and the rudimentary story here is a guy in a Caddy runnin’ from the “coppers on his trail”. There’s no Dylanesque poetry, and DuBrow was never a crooner. This is about loud guitars and drums, a singer who is screaming his face off, and songs about cars and rocking!
You know I got a fully equipped rock ‘n’ roll machine, At speeds that take me high, high, high, At dead man’s curve, I only hear one word, drive, drive, drive!
Love’s A Bitch” is less successful but it has a mournful quality that isn’t bad. “Breathless” is better, a fast rocker featuring Frankie’s breakneck but steady pounding of the skins. Following at the same pace, “Run for Cover” is just as furious, but lacking in melody. Carlos Cavazo’s guitar showcase “Battle Axe” used to precede “Slick Black Cadillac” on my cassette version, which it was perfectly suited for. On the original LP and the CD, it opens “Let’s Get Crazy”. Because the running order of the cassette is permanently branded into my memory, it’s hard to get used to. “Let’s Get Crazy” is goofy, seemingly an attempt to have another song like “Metal Health” on the same album. As such it’s filler.
Finally there is “Thunderbird”, the piano-based ballad that Kevin wrote for the late Randy Rhoads. Didn’t like it then, love it today.* It’s a beautiful song and maybe the best thing DuBrow’s ever written. It’s cheesy as hell, but who cares? The heart is there.
CD bonus tracks include a fun live take of “Slick Black Cadillac” (complete with DuBrow’s “vrroooom, vrrrrroooom!”) taken from a radio promo release. Also present is “Danger Zone”, an outtake that is not quite up to the album standards, but certainly close. Remastering is loud and clear, and liner notes are informative enough.
Enjoy. Doesn’t matter if it’s 1984 or 2015, this is a great album.
4.5/5 stars
* When we were kids, my sister and I used to play ‘air bands’ to this album. I’d always make her sing “Thunderbird” while I would get the ‘better’ songs!
It’s been two years since Tommy Morais contributed a review here. It is with great joy that I celebrate Tommy’s return, and that of the rock band Europe! Please join me in welcoming back Tommy, a great reviewer originally from the province of New Brunswick, Canada.
NEW RELEASE review by TOMMY MORAIS
“Europe establishes itself as a modern classic rock band”
EUROPE – War of Kings (2015 UDR)
After the bluesy affair that was Bag of Bones, the band Europe returns to a heavier sound and approach on War of Kings and ultimately, a more Europe-sounding album. The band has essentially transformed itself from its glam metal roots to essentially become a modern classic rock band. I’ve always been a fan of albums like Wings of Tomorrow and Out of This World, just as l am a fan of Last Look At Eden and their recent albums. If anyone cares to listen there’s more to this band than “The Final Countdown”, the occasional hit song and power ballads. For anyone who’s been keeping track, they know that the last few Europe albums have been very enjoyable and saw them release some of their best music thus far in their career (Last Look At Eden, Start From The Dark, Secret Society).
The title track opens up, and it’s every bit as epic sounding as you expect it to be. It’s a raunchy, slow down and dirty metallic number. Europe makes it clear from the get-go that they’re going in a heavy direction. “Hole in my Pocket” is a more light and upbeat track, and whereas the first track sounded more metal this one is more energetic AOR rock (with a blistering John Norum solo). “Second Day” is one of the highlights for me: the lyrics and the feel of the song are inspiring and Joey Tempest’s voice sounds like some part deep on him is aching and it’s brilliant. “Praise You” is a slow tempo rocker, not-quite ballad with a bluesy feel (Norum’s playing is just magnificent here) with hard rock tempo changes… this track really surprised me! “Nothin’ To Ya” is in a similar vein as the title track in that it goes for an epic feel but there’s orchestration on in the background that makes it interesting.
“California 405” is a cool mellow, almost easy-listening song. “Days of Rock ‘N’ Roll” is probably the closest sounding thing to a “The Final Countdown” here, and that is based on the joyous riff it possesses. Another solid rocker. “Children of the Night” is a dark sounding tune with some excelling guitar playing, something almost fit for the late great Ronnie James Dio. “Rainbow Bridge” has an exotic sound; it makes me feel like l’m about to enter some place like Morocco. It’s this album’s “Kashmir”, very different and very cool. “Angels (With Broken Hearts”) could almost be considered a ballad but it’s really a slow, here-comes-the-heartache piece with the music doing the biggest talking. “Light Me Up” is not bad at all, but it’s my least favourite song on War of Kings and not the best way to end the album.
For what it is I quite enjoy War of Kings, and it offers a solid collection of songs. Joey Tempest’s voice has aged like a fine wine where you can tell he’s comfortable and confident in his abilities, and this is possibly the best he’s ever sounded in all honesty. John Norum is a very talented guitar player and he has his shining moments in his riffs and solos, and puts a little blues out there as well. Europe are competent musicians and it certainly comes across as such, and maybe even more so now that they have moved past the “glam” and “hair” metal tags. I feel like since their comeback in the early 2000’s they’ve truly become a modern classic rock band in sound and spirit (don’t worry they still love and play the classics and hits live).
While it’s true that you only get one first impression, l wish more people would give Europe a chance, because they’re not the same band they were during the 80’s and they’ve become better musicians as time passed by. I think a lot of classic rock fans who didn’t like Europe during their most successful years especially might enjoy this a lot more than they’d ever think. Maybe some were hoping for a nostalgia trip but the keyboards and power ballads are not to be found here, this is a more mature Europe and a very fine one at that. For that reason l think some would like this a lot more. And if you were a fan all along then what are you waiting for? Pick this up and give it a spin. I praise Europe for giving us a true great hard rock record in 2015.
RECORD STORE TALES MkII: Getting More Tale #375: VH Predictions FAIL!
I like to think I’m such a know-it-all. Higher-than-thou, my musical knowledge trumps yours, etc. However when I’m wrong (it happens frequently), sometimes I’m colossally wrong. Below is an example of me being completely, 100% totally wrong. Although I’m glad I was. When the Van Halen reunion with David Lee Roth was announced, I believed it would not last long. I took the time to write out this list below. With the live album coming, and the hot rumours of another tour, this is a great time to showcase one of my most colossal failures as a clairvoyant.
Date: 2007/02/08 07:10
TOP TEN REASONS WHY THE =VH= VAN HALEN REUNION TOUR WILL GO DOWN IN FLAMES
10. Wolfgang Van Halen on bass means that there are three Van Halens in the band vs. one Lee Roth. David will feel outnumbered at every turn.
9. Wolfgang Van Halen, a 15 year old kid, is an untested property. Will it sound like the same band without the very recognizable Michael Anthony on bass?
8. No new songs, no new album, just another greatest hits (the third and most obvious rip off for your money). [NOTE: at the time Van Halen were planning to release a “best of DLR-era” CD, which was thankfully cancelled.]
7. David Lee Roth’s voice has been utterly destroyed since about 1991.
6. Eddie Van Halen is but a shadow of the man he once was. A raging alcoholic surrounded by yes-men, his guitar playing hasn’t touched upon brilliance in almost a decade. Throw his 15 year old son into the alcoholic tour and you have recipe for disaster.
5. Roth and the VH brothers haven’t gotten along in decades. The fact that the brothers recently attempted–and failed at–a reunion with Sammy Hagar before this indicates that this is a last-ditch effort to save the band. Not exactly the kind of motive to make a reunion happen.
4. Roth will say and do what he wants, much to the chagrin of the ultra-controlling VH brothers.
3. Alex VH’s spinal problems, while not heavily discussed, are probably only getting worse with time.
2. 40 dates isn’t much of a tour for a band of this stature.
1. Classic VH = Edward Van Halen, Alex Van Halen, David Lee Roth, and Michael Anthony. Without Anthony, this is not classic Van Halen. This is in effect the fourth version of the band. VH-IV, if you like. That isn’t what I wanted to see on tour this summer.
I am glad to be have been proven wrong on this one. Van Halen has defied the odds and my predictions. I couldn’t be happier about it.
Q: Who would release a box set dressed up in faux-leather and studs?
A: Who else? PRIEST!
This five disc set (4 CD/1 DVD) compiles a generous sampling of Judas Priest’s music over the decades, from Rocka Rolla (1974) to Demolition (2002). While the tracklist is far from perfect in my eyes (where’s “Rocka Rolla”, “One For the Road”, the studio version of “Victim Of Changes”, “The Ripper”, etc?) it does provide some previously unreleased live versions (both B-sides and never-before-released) and a completely unreleased demo. It’s not a bad set. Just not the one I would have made personally given the opportunity.*
With insanely great fortune, I got this box set (a limited edition by the way; reissues lack the DVD) in mint condition but used at my own store! One of my favourite sellers, a customer named Conrad sold it to me only a short time after release. I don’t know why and I don’t care. I was just glad to have it affordably. I loved the packaging and there was that unreleased demo that I was eager to finally hear. Also, Metalogy was the first anthology style box set from Priest and I wanted to hear how it played out.
The unreleased song is the awesome hard rock track “Heart of a Lion”, demoed for Turbo back in ’85. You may have heard this one in re-recorded form on Halford’s live album Insurrection. It was also recorded back in the 80’s by a young band called Racer X, starring Paul Gilbert (Mr. Big) on guitar, and a drummer by the name of Scott Travis! It was a surprise to me that “Heart of a Lion” was not released on the Priest Re-masters series; obviously they were deviously saving it for something later, like this box set.
Some of the live versions are exclusive to this set. Two newly released versions included a 1981 radio broadcast of “Green Manalishi” (unfortunately, meaning the studio track isn’t on here). There is also an unreleased broadcast version of “Love Bites” from ’86. In addition to these, there are a few live tracks taken from old single B-sides. Unfortunately I already have all Priest’s B-sides, on a Japanese compilation called Priest Live & Rare.
The biggest weakness with this box set is that it tragically loses steam right at the end. In 2002 when the last original Priest music had been recorded, Rob Halford had yet to rejoin the band and Ripper Owens was still the current singer. The box ends with four Ripper tunes, and not necessarily the best ones. “Jugulator” is an undeniable inclusion, but there is a feeling of anticlimax. Leaving an exciting and unheard track like “Heart of a Lion” for last would have ended set on an up note. (Perhaps Priest could have included some Ripper-era rarities to add some value and excitement — there were a few songs available.)
Judas Priest Live (DVD)
The limited edition DVD, cleverly called Judas Priest Live, has since been released on its own. This is the old Judas Priest Live video, also known as Live Vengeance ’82, from the Screaming for Vengeance tour (Memphis Tennessee). It’s one of those music videos that you probably remember seeing back in the day. It’s quintessential early 80’s live Priest — all black leather and shiny studs. The setlist leans heavily on Screaming and British Steel, with classics throughout. The stage is pretty bare, just some girders and a Screaming for Vengeance flag in behind.
This concert has been remixed for DVD, in both stereo and 5.1 surround. I have read some complaints from fans that guitar overdubs were added to some tracks. I listened intently but could not conclude one way or the other that any tampering was done.
A pre-recorded “Hellion” acts as intro music; Priest emerge onstage amidst lasers and smoke to play “Electric Eye”. Halford is the caricature of himself, bearing a bullwhip, and looking something like the biker from the Village People. Nevertheless, a young Rob Halford slowly and deliberately commands the stage, powerful voice cracking but getting the job done. Tipton and Downing are on the flanks, tearing into “Riding on the Wind” next. The pulse of Ian Hill and Dave Holland, plain is it may be, is metronomically precise. The video is shot and edited to my taste; lots of closeups although the light flaring is distracting. (J.J. Abrams did not direct the video though!) KK Downing makes some of the best “guitar faces” this side of Nigel Tufnel.
“Heading Out to the Highway” brings the speed down from the breakneck pace. This mid-tempo classic has long been a favourite, although at the time it was only a year old! Three songs in, and Priest had not yet played anything from British Steel or before! The confidence in their new material is refreshing. Rob treats us to some hilarious dancing, but I admit I’d kill for a leather vest like that, with the bird from Screaming emblazoned on the back! Fear not though, as “Metal Gods”, a British Steel classic, is next. Rob’s robot dance gets my nod for “favourite moment of the concert”.
Back to new songs, the sharp guitars and robotic pulse of “Bloodstone” gets fists pumping in the air. The cameras are not wasted on audience shots (I’d rather see the band), but you can see the crowd digging the new material as much as the old. They really like “Breaking the Law” though, which has a blazing intensity. Then it’s back to the stone ages: KK Downing’s guitar showcase “Sinner”. This killer song loses something with Holland on drums, but it’s more about KK anyway. His solo is resplendent, but Rob nails the screams! “Desert Plains” is faster than the Point of Entry version but more powerful. This is one that Dave Holland is well suited to, and the Hill/Holland pulse is fully apparent.
Here’s something you don’t hear at Judas Priest concerts anymore: Rob screaming at the crowd, “Are you high? Sing yeah!” As a kid, I naively assumed Rob meant high on the music, the adrenaline of the concert, and I’m sure that’s the answer he’d give to the press if asked about it. As a cynical adult, I’m sure he meant “Are you high?” as in “Are you high?”!
All the way back to Sad Wings, “a little Victorian melodrama for you,” it’s “The Ripper”! Some stage bombs help out with the drama, and Rob sinks his teeth into the words. It’s an absolutely metal-perfect ode to Jack himself. “Diamonds and Rust” is an unexpected treat, as glimmery as it was on Sin After Sin.
Rob takes a moment to tell the crowd that there are cameras all over the place because they’re making the very first “Judas Priest movie”, and possible live album. Still waiting on that live album today, Rob! Back to the new album, it’s “Devil’s Child”, which Rob imbues with a strange monotone during the verses. This exact version was released as a bonus track on the remastered Screaming For Vengeance. As such it’s familiar to me and I enjoy the vocal twist. “Screaming for Vengeance” continues the onslaught of new songs, concluded by the chugging fan favourite “You’ve Got Another Thing Comin'”.
Closing the set with “Victim of Changes” is a suitably dramatic end. “Victim” is spot-on, and Rob is as animated as he gets. Headbanging away, Downing and Tipton are at his sides, while Ian Hill stands bolted to the stage, swaying his bass back and forth hidden behind a cloud of smoke! This brilliant version has all the twists and turns you expect, and that end scream is so satisfying even if Rob misses the note by several notches.
“The Green Manalishi” rears its leather-studded head in the encores, but not before the big hit, “Living After Midnight”. And let’s not forgot Rob’s boring “Oh yeah!” chant-along. Thankfully this version of “Green Manalishi” is a killer (as is the 1981 live version on CD 1 of this box set). “What you sayin’ Memphis?” screams Rob, before KK and Glenn dig in to their trademark solos. “Green Manalishi” remains to this day an example of a song improved as a cover version, with all due respect to Peter Green.
It ain’t over ’til the bike comes out, and it does on “Hell Bent for Leather”. Rob sits reclined on his Harley, bullwhip back in hand, commanding the masses. After dozens of power chords and crashed cymbals, it’s finally over — 95 minutes of Judas Priest fury, at the height of their 1980’s power. Not bad for a little bonus DVD (video quality issues aside), and worth picking up separately if you feel so inclined.
In closing
Review the track list yourself, see what you have and what you want, amd buy accordingly. I can tell you that this set was worth it for me for “Heart of a Lion” and the unreleased live material. The DVD was gravy.
Here’s an album I haven’t rocked in a while. Let’s see how it holds up 16 years after release. In 1999, this was W.A.S.P.’s “return to form” album after the industrial-metal of K.F.D. In the liner notes, Blackie says that the goal was not to make a record that sounded like their first album, but sounded like their first demos. In other words, even more raw. Those were the goalposts. Topically, Blackie was done with the messages and concept albums for the moment. You can tell by the song titles: “Don’t Cry (Just Suck)” and “Dirty Balls”, for example.
The record opens with creepy carnival music, motorcycle engines, and a voice asking us if we wanna go now? This goofy opener (called “Drive By”) goes on way too long, but at least the first song up is the purely smoking “Hellodrado”. It’s definitely in the mold of the legendary first W.A.S.P. album, and the production does recollect an earlier era. This blazing fast ride to hell n’ back is plenty fun, even if Blackie is just playing a sped up and more distorted Chuck Berry riff. Either way, I’m on board, but I’m definitely fastening my seatbelt.
“Don’t Cry (Just Suck)” is lyrically as offensive as you’d expect. Blackie went too far on this one. There’s something to be said for leaving things to the imagination. There’s nothing wrong with the music (similar to the first track with an Angus Young riff) but the lyrics aren’t justified. I’m sure everybody thought it was hilarious when they wrote it and recorded it, but all I hear are old tired cliches turned up to 11, and I don’t mean that in a good way.
A slower and more ominous mood, akin to “The Razors Edge” by AC/DC, inhabits “Damnation Angels”. This is a cool song, fitting the slot that a track like “B.A.D.” held on the first album. “Damnation Angels” is fittingly the only long song (over six minutes) on an album otherwise composed of shorties. “Dirty Balls” is one such shorty, and it’s fucking awesome. Too bad about the lame intro. Again, Blackie would have been better off leaving something to the imagination. “Dirty Balls” is otherwise hilarious and smokin’ hot at the same time. Sometimes all W.A.S.P. really needs is a rock n’ roll riff and a screamy chorus. “Dirty balls! Balls! Balls! Is all I need, hang ’em high, oh tonight, so the world can see!” I’m easily amused — all it takes is someone saying “balls” and I’m concealing snickers. (When I was a kid, my favourite song was “Big Balls”.)
“High on the Flames” kicks ass in a mid-tempo groove once again aping the AC/DC template. The problem with Helldorado isn’t bad songs, but songs that sound too much alike. “High on the Flames” kicks ass, but blink for a moment and you might think it’s “Damnation Angels” again. “Cocaine Cowboys” compounds the issue. It is a virtual carbon copy of “Dirty Balls” and “Helldorado”, and even the next song “Can’t Die Tonight”. I have found this to be a problem on W.A.S.P. albums going all the way back to The Crimson Idol if not before. There seems to be a W.A.S.P. template that you can mix and match parts from. Take this riff, add this solo, use that bridge, add lyrics and stir.
“Saturday Night Cockfight” is a great song title, you have to admit. This one sounds especially raw, and has a neat little riff that doesn’t sound like a duplicate of all the others. I dig Holmes’ solo(s) on this one; he just kicks ass on it. “Saturday Night Cockfight” is the sleeper track, a real classic tucked away at the end of the album right when you think it’s going downhill.
Finally, the album careens to an end by crashing into the boards. A 9-song album (don’t forget the first track is just an intro), already bogged down by carbon copy riffs, ends on “Hot Rods to Hell (Helldorado Reprise)”. That’s right, Blackie ends the CD with a reprise of the opening track. This amounts to a whole lotta solos and screaming, and that’s all well and good, but you feel like the album was perhaps padded out a bit where it could have used a little more time at the songwriter’s table.
I like Helldorado, and if you love the first W.A.S.P. album, you’ll like this too. You won’t love it as much, and you won’t play it as much, but it’ll have its place in your collection.
3/5 stars
Pet peave: Four full pages of the eight page booklet are dedicated to Blackie hawking his W.A.S.P. merch.
Track 3 is a Rose/Weber original called “Rocker”. A sloppy punk metal riff and a killer Axl lead vocal make for a passable tune. (I would love it if a reunited Guns would one day pull a “Van Halen” and remake these old unreleased songs…one can dream.) “Rocker” is more metal than you expect from Guns, but it has that sloppy, dangly cigarette vibe that the band embodied.
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