heavy metal

REVIEW: Extreme – Six (2023 Japanese import)

A special joint post today with Jex Russell – Pop Culture Nut.  Read his review by clicking here!

EXTREME – Six (2023 Victor Japan)

Extreme fans never stopped believin’.  We’re delighted that people dig the new album Six, but we always knew.  Saudades was great.  Punchline was great.  We have always boasted about what Nuno was capable of, and it’s hard not to love Gary Cherone.  This is a band you just want to kick ass, and they do on their sixth (studio) album, shockingly titled Six.  There’s no dip in quality – there hasn’t been a dip in quality since their embryonic debut back in 1988.  It’s been nothing but peaks since then, though always different from one another.  Reviewing Six is less about praising it (which is easy) and more about seeing what Extreme are doing differently this time.

We talk a lot about riffs here, but rarely have Extreme riffs been as direct and heavy as the one on “Rise”.  This, by the way, is the song with the solo that seems to have taken the world by storm.  The spirit of Van Halen was definitely in the room when Nuno laid it down, and it’s an undeniable highlight of the song.  The solo is as impressive and hooky as a song unto itself.  Another figure that people are starting to notice is drummer Kevin Figueiredo.  It’s hard to stand out when you’re Mike Mangini’s replacement in Extreme, but Kevin kicks it!  (Joke intentional – die hard Extreme fans know.)  “Rise” could be the heaviest Extreme song to date.

Riffing continues on “#Rebel” (pronounced “hashtag rebel”), another contender for heaviest to date.  The riff is definitely a monster, and Nuno augments it with those tasty licks he’s known for.  Gary Cherone, meanwhile, sounds to be in better voice than he was back in the 1990s when he joined Van Halen.  He doesn’t seem to have to push as hard, no longer going overly gritty when he’s givin’ ‘er.  The solo is another marathon workout, and just a pleasure to bang along to from start to finish.  Like most great solos, this is a fully composed piece of musical performance.

Third standout riff in a row, “Banshee” is yet another butt-kickin’ banger.  It’s not fully pedal to the metal this time, with the verses being a little less loud, allowing Gary to get slinky.  Bassist Pat Badger forms a formidable groove with Kevin here, which gives Nuno room to play around.  The solo, once again, is thought out like a miniature song within a song.

Finally on track four, we get a breather!  A brilliant acoustic song called “Other Side of the Rainbow” is just a thing of beauty.  The vocal harmonies of Gary and Nuno gel better here than anywhere else on Six.  This is pure pop, as Extreme have occasionally done (and done so well) on albums past.  There are elements of Extreme II and Waiting for the Punchline here.  It somehow sounds like a lost remnant from the decade of the 90s.  One of the best Extreme songs in the entire canon, and a brilliant Queen-like performance from Gary.

Continuing down the acoustic road, the ballad “Small Town Beautiful” definitely recalls the softer moments on Punchline.  The blend of vocals here is really special; those trademark harmonies.  Things shake up once again on the bass heavy “The Mask”, with co-lead vocals by Nuno Bettencourt, a rare treat.  Gary takes over on the choruses, while Nuno takes the verses in an affected voice.  “Rip off the mask, I’ll show you who I am!” howls Gary on the menacing chorus.

The unusual “Thicker Than Blood” has an industrial tint, but actually is closer to a reflection of Nuno’s 1997 solo album Schizophonic.  It absolutely could have come from that album, but it would have been one of the better tracks if it had.  The solo here is a wicked little number.  They take it down to a heavy grind on “Save Me”, another song with a downtuned 90s flavour, but a searing chorus.  It’s two completely different moods, verse and chorus.  Quality remains high.  Variety continues.

Another soft acoustic number called “Hurricane” sounds like Simon and Garfunkel, and there’s nothing wrong with that.  Extreme could do Simon and Garfunkel a hell of a lot better than Disturbed.  Nuno takes a rare acoustic solo here.  A very special song.  Extreme throw another curveball on the effects-heavy “X Out”.  We’re reminded, perhaps, of “Evilangelist” from Punchline, but with more of that industrial synthy vibe.  There’s an undeniable Stranger Things vibe to the synth line.

A complete 180° will spin your head on “Beautiful Girls”, a light tropical summery number about…shockingly…beautiful girls.  It’s just pop, pure and simple, and there’s nothing to feel guilty or shameful about.  (There’s only one line I dislike – “California Girls, I wish they all could be” – gimme Canadian girls any time!)  Bottom line, Extreme have never been shy about going way outside the box.  “Beautiful Girls” represents the furthest they’ve gone since Extreme II back in 1990.  The guitar solo is pure Brian May, 100%.  There’s no denial, except for that wicked burnout at the end!  Some might say, “This sounds like Sugar Ray!”  I say, “Sugar Ray could never sing nor play like Extreme do.”  Interesting that on an album with Extreme’s heaviest rockers, we also find their their most pop song.

The acoustic guitars remain out for album closer “Here’s To the Losers”, another brilliant tune that goes in another different direction.  It has an anthemic shout-along of “Get up!  Chin up!  Drink up!”  (Your beverage of choice, of course!)  It’s like a rallying cry and it’s a terrific closer.  The key change at the end is really nice.

The sequencing of this album is really interesting.  Though the first three songs sell it as a heavy monster, the diversity soon comes into play, and then we run into multiple acoustic songs in a row.  It’s unexpected but it works.  The Japanese CD has its bonus track of course, and it’s a simple radio edit version of “Rise” that allows the CD to end heavy, if you prefer it that way.  The edit version of “Rise” is a full minute shorter, but wasn’t really necessary except to satisfy radio formats.  Fortunately the solo is still a main feature of the song.

Extreme Six was expertly produced by Nuno Bettencourt.  The man’s talent knows no bounds.  In fact Extreme are one of the most talented bands to come from the 80s, end sentence.  Six is among their very best albums, which is to say, all of them but the debut.  The streak continues.  Extreme are the champions.

5/5 stars

REVIEW: The Forrest Williams Democracy – “Halos” (2023 single)

THE FORREST WILLIAMS DEMOCRACY – “Halos” (2023 single)

I said it last year, and I’ll say it again:  Anybody who ever dug Big Wreck (and there are lots of you) should be checking out The Forrest Williams Democracy.  Their debut track “In Service of the Greater Good” made us happy last year, but this time we’re smiling ear to ear at the sound of the new song “Halos”!  It was hard to pigeonhole the Forrest Williams Democracy last time, but we bandied about words such as “Sabbath” and “Zeppelin”.  Not this time.  This time I might use words such as “Rush” or “Foo”!  Whether these were influences in any way, I have no way of knowing, but it’s not bad company to be compared to.

“Halos” is upbeat and irresistible!  There are verses that sound like they could have come from the 80s, but then in crashes a killer chorus with distorted vocals a-la your favourite 90s hits.  I find myself listening on repeat, it’s just that good.  Vocally and rhythmically, this is an outstanding track.  Though it is shorter and more to the point than their previous song, it still has a variety of different sections with different feels.  It all works together to make one concise, killer tune that will sound great with the windows down this summer.

“Halos” is out August 1, 2023.  Keep ’em coming, guys….

5/5 stars

REVIEW: Ghost – Phantomime (2023)

GHOST – Phantomime (2023 Loma Vista)

As they often do, Ghost have followed last year’s excellent Impera album with an underwhelming covers EP.  Fear not, there’s a deluxe version of Impera coming for those who needed more, but in the meantime, the five song EP Phantomime had better tide us over.

Ghost have diverse taste in covers, as past EPs have demonstrated.  This time, they’re taking on 80’s New Wave, 80’s Metal, 70’s Rock, and 90’s Prog.  Let’s see how it shapes up.  The band are still sounding very much like an 80’s hard rock band on this EP, much as they did on Impera.

Television’s “See No Evil” strikes as an appropriate title to cover.  Ghost do a fine job of it, turning it into a Ghost-like hard rock anthem.  The opening bassline really jumps out, and strikes as something Duff McKagan may have been inspired by early in his career.  Smokin’ guitar solo here.  It’ll sound great blasting from the car this summer.  But something about Ghost doing covers…why are they never as great as their originals?  Papa Emeritus just sounds better singing about Satan, perhaps?

A sped-up “Jesus He Knows Me” is another great title to see on a Ghost record.  There’s nothing of Genesis here, really!  If you played this for anyone who didn’t know the original song, you’d assume it was a metal original.  Lyrically perfect for Ghost, though!

The Strangler’s “Hanging Around” is centred on a big fat organ part that sounds great and beefy on this CD.  Very different from the original, but like the previous songs, it’s Ghost-ified by Papa and the Nameless Ghouls.  For better or for worse!  It is not especially memorable as a cover.

The controversial “Phantom of the Opera” by Iron Maiden is fourth.  Why controversial?  Maiden vocalist Paul Di’Anno didn’t particular care for it.  I disagree with Paul and think it’s the best thing here.  If Maiden wrote the song today, with their current affectation towards keyboards, it might sound a little bit more polished like Ghost’s version.  Ghost maintain the speed, the riffs, the solos, and all the essential ingredients.  It’s just Maiden, but covered by Ghost, and as such it seems to work better than the other tunes.

Finally we have the Mad Max Beyond Thunderdome theme song “We Don’t Need Another Hero” by the late great Tina Turner.  An interesting and surprising choice even for Ghost.  Jury’s still out on this one.  Nerves might still be a little too raw after Tina’s unfortunate passing.  The Ghost version was released just before, but now…let’s just say jury’s still out and leave it at that.

Casual fans, stick to Ghost’s original albums.

3/5 stars

Saturday Afternoon Playlist for Lego Building

This was our playlist on Saturday June 10 for a rockin’ afternoon of Lego building.  We generally took turns picking songs.

You can really see the differences in our tastes.

  1. AC/DC – Heatseeker – Mike
  2. AC/DC – Rock and Roll Ain’t Noise Pollution – Mike and Jen
  3. SOUNDGARDEN – Black Hole Sun – Jen
  4. THE POLICE – Walking On the Moon – Mike
  5. GUNS N’ ROSES – Don’t Cry – Jen
  6. THE SOGGY BOTTOM BOYS – Man of Constant Sorrow – Mike
  7. QUEEN – Bohemian Rhapsody – Jen
  8. THE BEATLES – All You Need Is Love – Mike
  9. AEROSMITH – Cryin – Jen
  10. JETHRO TULL – The Whistler – Mike
  11. THE TRAGICALLY HIP – Grace Too – Jen
  12. BRUCE COCKBURN – If A Tree Falls – Mike
  13. PEARL JAM – Black – Jen

 

REVIEW: Kick Axe – IV (2004)

Part Seven of a series on KICK AXE!

KICK AXE – IV (2004 Elfin Stone)

George Criston is one heck of a talented singer.  Always had a lot of power, and range.  However, his heart no longer appears to be with the rock, but with country and gospel.  There’s nothing wrong with that, but when Kick Axe needed to reunite and put out a new album, a new singer was required.  They didn’t have to look far!  Original drummer and brother of bassist Victor Langen, Gary, stepped up to the microphone to sing.  And what a voice!  The rest of the classic lineup was intact:  Victor Langen, Ray Harvey, and Larry & Brian Gillstrom.  On the road to rock!

Gary Langen strikes a tone similar to the late great Phil Naro of Talas, especially on the track “Rockin Daze”.  More than enough to kick all the axes in the room.  Gary also participates in the songwriting on several songs, and providing the slinky tune “Slip Inside My Dream” himself.  Not at all like the one-of-a-kind Criston, but still more than capable.

The best track is, by far, the aforementioned “Rockin Daze” surprisingly written by drummer Brian Gillstrom.  The cool descending riff, the gritty vocals, and especially the killer chorus, make this one the obvious standout.  “The show is over, your rockin’ daze are done!”  Not by far!  There’s a story in the lyrics, so pay attention, but especially listen to the impassioned vocal and stunning guitar solo work.

While “Rockin Daze” is a high water mark, there aren’t any particularly bad songs.  The rest of them are on the same level.  Solid, enjoyable, well recorded heavy rock with the expected impressive musicianship.  Long bomber “City Lights” is pretty epic.  From heavy rockers like “Right Now” to slow, bluesy ballads like “Consolation”, there is a good cross section of songs.  At an hour long, and with 14 songs in total, it’s a long ride and perhaps could have been trimmed down to 10 songs.  On the other hand there’s an argument for value, especially when it’s a band’s only album in so many years.  There are plenty of good songs here, and nothing to make you jump for the “skip” button.  It’s a modern rock album, not as “metal” as the golden days.  A slight progressive edge, with keyboards and acoustics in strategic locations.  Still plenty of guitars, drums, and wicked singing!  The lead solo work on this album is top drawer.  Don’t expect Vices II, though there’s still a common thread here that confirms it’s the same band.

Nothing lasts forever in rock and roll, and while this lineup of Kick Axe survived five years, in 2008 Gary Langen left and was replaced by Into Infinity singer Daniel Nargang.  The band continue to rock and roll, though IV remains their last album.

3.5/5 stars

Part One:  “Reality is the Nightmare”
Part Two:  “Weekend Ride”
Record Store Tales #773:  Rock Candy + Internet = Kick Axe!
Part Three:  Vices
Part Four:  The Transformers soundtrack (as Spectre General)
Part Five:  Welcome to the Club
Part Six:  Rock the World
Part Seven:  IV

REVIEW: Sword – III (2022)

SWORD – III (2022 Massacre Records)

Talk about a comeback.  34 years after 1988’s “final” Sword album Sweet Dreams, comes Sword III!  With the full original lineup intact!  Rick Hughes – lead vocals.  Dan Hughes – drums.  Mike Larock – bass.  Mike Plant – lead guitar.  Forget about Saints & Sinners; this is the real deal, heavy as fuck, modern and edgy.  At 34 minutes and seven songs (plus an instrumental), it’s not the beefiest album, but the fact that it exists at all is what counts.

III is less thrashy than either Metalized or Sweet Dreams.  It is, however, nice and heavy.  Perhaps heavier than Sweet Dreams overall.  Rick Hughes’ voice has lost its screaming grit but the man still has impressive power and range.

Opener “Bad Blood” is an uptempo metal romp, with a high-pitched chorus that hits the spot.  What really satisfies are the guitars by Mike Plant.  He’s got a great tone and the riffing here is memorable and hard-hitting.  His solo on “Bad Blood” is just as tasty.  “Bad Blood” is an excellent example of the sound of “new” Sword.  Heavy, modern, determined and unstoppable…but with remnant stylings of the 80s still intact!

“(I Am) In Kommand” was released in 2020 as Sword’s comeback single.  This is its first physical release, finally!  Fast with ripping guitars, “In Kommand” is indeed in charge of the assault, but what’s with the “K”?  I don’t get it.  However, you’re not going to think too much about it when you’re banging your head.

Track three “Dirty Pig” is a contender for best track on the album.  The riff grinds, but also has some rich Priest-like qualities.  It’s not one dimensional.  And just listen to Mike Larock’s thumping bass underneath!  Sword are a one guitar band and they’ve never really been afraid of that, which lets the bass really breathe.  “Dirty Pig” thumps and electrifies while you pound your fists to the groove.

The brief instrumental “Surfacing” is a cool respite, right before the other contender for best track:  “Unleashing Hell”!  Each verse starts with the line, “1986 in Montreal…” while Hughes weaves a tale of debauchery and a young band on the rise.  “1986 in Montreal, smokin’ chicks, a free-for-all.  In our 20’s, ready to brawl, not much money but lots of balls…”  It really makes you wish you’d been there!

The riffing gets more complex and driving on “Spread the Pain”, a killer track augmented by speed and melody.  This has a Dio vibe.  Then “Took My Chances” slows things down to a punishing pummelling.  Mike Plant doesn’t throw down a lot of fills and solos here, but what he does makes it count.  A mid-song tempo shift makes thing fast and Maiden-esque, which is never a bad thing.

Finally, album closer “Not Me No Way” ends things the right way:  by blasting through a head-banging stomper!  The riff smokes and the chorus is nice ‘n defiant!  “Not me!  No way!  I will not play nice!”  Very reminiscent of old Rick Hughes lyrics such as “Life on the Sharp Edge” from Sweet Dreams.  “We didn’t talk, we walked!”  He’s always been great at writing defiant songs about not conforming and not compromising.  It seems appropriate to end Sword III with defiance.

The question I’ve been pondering is, “Does Sword III kill the previous two albums?”  That’s a tough call on an uneven field, because this album really only has seven songs.  It wouldn’t be controversial to say it is their equal, so that’s what I’m going with.

4/5 stars

REVIEW: Keel – The Right to Rock (Remaster/bonus track)

KEEL – The Right to Rock (1985, 2000 Metal Mayhem Music/bonus track)

From the Gene Simmons Song Factory, heeeeere’s Keel!

Let’s talk about the bonus track first.  Anybody could tell you that “Easier Said Than Done” was a Simmons song, just from one listen.  Surely enough, scan the liner notes, and it’s Gene and Mitch Weissman, whom fans know from 1984’s Animalize album.  Like many Gene Simmons productions, The Right to Rock bears his name on a few writing credits.  “Easier Said Than Done” is right down mid-80s Kiss alley.  What about the remix?  Structurally, it is unchanged.  The drums sound different, and on a whole the track sounds a little brighter.

That’s it for extras.  The booket is only a single fold-out, with no lyrics.  It has a note from Ron Keel, indicating that this is the first CD issue of the album outside Japan.

(The rest of this review was previously published in 2015)

 

The rest of the non-Simmons songs are basically reworkings of tracks from Keel’s first album Lay Down the Law. That album, like Ron Keel’s debut with Steeler (featuring one Yngwie J. Malmsteen) were on Shrapnel. For the A&M Records debut, they pulled out the big guns. They got Gene Simmons in all his wig-ness, and put out a very corny but tremendously fun music video.

It is “America 1989”, and rock and roll is outlawed. “Those who are apprehended suffer severe consequences.” Can our young teenage Keel lookalike get away from the rock police? Quiet Riot did something similar with their “The Wild and the Young” video a year later. It’s corny fun.

The song too is corny fun. I guess it’s a classic now. It has that stock heavy metal riff that you need: something Motley Crue or the Scorpions would be comfortable with. It has that rebellious rock theme that was so prominent in the 80’s. It has a shout-along chorus. “You got it! The Right to Rock!” Hey, I grew up in a Catholic school. I know what this is about. “Don’t let anyone tell you how to live your life!” I had a teacher call me out on the first day of school for wearing a Judas Priest T-shirt. I could relate to this song in a big way when I was 13.

It should be noted that Gene Simmons, as a producer, is not known for his sonics. The Right to Rock sounds pretty good for the period, but the drums ring shallow and weak. There’s not much presence for the bass guitar, and the backing vocals are the typical rock mush. That’s what you get with Gene behind the console.

“Back to the City” has a good Priest-like chug to it. I think Keel were going for something middle of the road with their music, like Priest-meets-Scorps-meets-Crue-meets-Kiss. If so, this hit the mark. Ron’s vocals are overwrought but that’s his style. If you don’t like that kind of vocal, you won’t like Keel.

Kinda stinky is “Let’s Spend the Night Together”. You know, I still gotta give the guys credit. They have made this into a pretty fine pop metal song. If you didn’t know the song, you’d assume it’s an original, in the pop metal genre. So from that perspective, I think it’s kinda cool. Stinky and cool — like good gorgonzola.

“Easier Said Than Done” was written by Simmons/Weissman, the same team responsible for much of the Animalize album. The lyrics even reference “Russian Roulette”, a song title Gene had been toying with for years. (A song called “Russian Roulette” was finally released on Sonic Boom.) So, guess who “Easier Said Than Done” sounds like? That’s right — it is a dead ringer for Simmons-style Kiss. And it’s actually a pretty good song. The problem is Ron’s Gene impression. I can’t help but chuckle at his dead-on Gene vocals. I dare you to refrain from a giggle yourself. Same deal with “So Many Girls, So Little Time”. Kiss fans will recognize that’s a line recycled from the Kiss song “Burn Bitch Burn”.

Onto side two, “Electric Love” is a Keel original, but you immediately notice that the song isn’t as immediate as the two previous Simmons tunes. “Speed Demon”, another original, sounds exactly as the title implies. Quality-wise, it’s only at “Priest outtake” level (Defenders of the Faith era). Then it’s back to Simmons outtakes, with “Get Down”, the weakest of the Simmons songs by a long shot. “You’re the Victim (I’m the Crime)” is a Gene-like title, but this too is a Keel tune. It’s in the same vein as “Speed Demon”, and the same level of quality.

It’s fun to revisit The Right To Rock periodically…but sparingly.

3/5 stars

REVIEW: Savatage – Poets and Madman (2022 glow in the dark vinyl reissue/bonus track)

SAVATAGE – Poets and Madman (2001, 2022 glow in the dark vinyl reissue)

Let us start with this vinyl reissue, before we look at the album proper.  Savatage have done a lovely job of reissuing their catalogue on vinyl, with colours galore, epic packaging, and occasional bonus tracks.  This reissue includes one such track on a bonus 7″ record.  Awesome.

The album comes packaged in a beefy gatefold sleeve, loaded with pictures and graphics.  It’s a double album, plus the bonus single.  It also includes a massive booklet with loads of text, an interview, photos and lyrics.  This reissue was done right.  It is always a pleasure when you have something to read along to while you listen.  The two 12″ records glow in the dark, a fun effect when you feel like turning your lights off and listening in pitch black (which will probably be never).  Unfortunately the records have high surface noise.  The bonus 7″ is a clear tie-dyed or splatter design, and sounds excellent.

The bonus track on the single is an extended version of one of the better album cuts, “Awaken”.  It is almost a full minute longer, with the extra meat at the end of the track.  Almost a full minute of extra guitar gymnastics for you to sink your teeth into.  There is music on only one side of the 7″, with the other side blank.

A totally worthwhile vinyl reissue, while we wait for the arrival of new Savatage in 2024.

 

(The rest of this review was previously published in 2014)

Since the death of Criss Oliva, Savatage had become a much more operatic beast, culminating in the formation of Trans-Siberian Orchestra. Here, there are many changes afoot. Guitarist Al Pitrelli departed for Megadeth, although some of his work is herein. Co-lead vocalist Zach Stevens is also gone, having formed the excellent Circle II Circle. This leaves The Mountain King himself, Jon Oliva, to handle all lead vocals for the first time since 1991’s Streets: A Rock Opera. (A new co-lead vocalist named Damond Jineva was hired for the tour.)

This is another dramatic rock opera, and as soon as the needle hits wax, you hear Oliva’s piano flourishes dominate the opening song, “Stay With Me Awhile”. Much like “Streets”, this song is simply an intro to the story which is about to unfold. This time, Oliva and producer Paul O’Neill weave a tale about an abandoned insane asylum and the ghosts within its walls. On a whole it is a much less satisfying concept than some previous Sava-operas, but it backs up the music just fine. And to be honest, that’s why we’re here — the music.

From heavy rockers like “There In The Silence” (backed by a fat synth riff) to slow dramatic ballads like “Back To A Reason”, this is a well-rounded Sava-disc. It is comparable to previous in quality and direction to rock operas such as The Wake of Magellan or Dead Winter Dead, just without Zach.

As with the aforementioned rock operas, there is always a centerpiece on the album. There had to be a counterpoint-vocal-laden masterwork to make your jaw drop in awe and hit that “reverse” button to hear it all again. This time it is a 10 minute epic called “Morphine Child”. With Zach gone, Oliva sings with multiple backing vocalists but the song is no weaker for it.  I’ll confess that even though I usually listen to albums from front to back, I usually play “Morphine Child” three times in a row.  It’s that incredible.

Other standouts include the single “Commissar” which is loaded with guitar flash, keyboards and riffage.  It also features Trans-Siberian-style backing vocals.  “I Seek Power” sounds like classic Savatage circa Gutter Ballet.  “Awaken” is another number that brings to mind that mid-period Savatage sound.  If some fans thought they had strayed way too far into rock opera, then songs like “Awaken” will appeal to their tastes.  I still like hearing Jon screaming a chorus.

I was underwhelmed a bit by the acoustic “Rumor”, but the song does take off fully electric after a few minutes.   Then there’s “Surrender” which feels like an outtake from Streets, but I didn’t find it as memorable.  So there are a couple duds, who cares?

Poets and Madmen is an excellent album, and it fares well against the other rock operas that Savatage has done. Streets will always be the pinnacle, but Poets and Madmen can hold its own against The Wake of Magellan, and it easily out-does Dead Winter Dead.

4.5/5 stars

REVIEW: Extreme – Waiting for the Punchline (1995 Japanese/bonus track)

EXTREME – Waiting for the Punchline (1995 Polydor Japan)

Let’s start with the bonus track!  “Fair-Weather Faith” is only available here, on the Japanese pressing of Extreme’s fourth album.  And it is…well, it’s probably not controversial to say it’s the weakest of the 13 (12 plus one unlisted) tracks.  That’s why it’s a bonus track.  Is there anything wrong with it?  Hell no!  But do you absolutely need it in your life?  No.  You can live without it.  Be warned though that Gary sings his ass off, while Nuno plays it funky.  It sounds as if this is one of the tracks with Paul Geary on drums.  (Mike Mangini joined the band mid-album.)  Like many Extreme songs, religion is the topic.  Gary is critical of these who put on the act of believing for the benefit of those around them.  Decent bonus track, but not especially mind-blowing.

(The rest of this review was previously published in 2017)

Sometimes you just gotta laugh.  Extreme released two of their finest albums after grunge wiped the slate clean.  Extreme were the punchline, but that didn’t stop them from making a smokin’ fourth album.  In 1992 Nuno envisioned the next album as “really funky”, and there is some funk here.  However Waiting for the Punchline was much more straight ahead: stripped down, no orchestras, no rap, just guitar rock through and through.

“There Is No God” sounds like an odd title from a band as Christian as Extreme were, but Gary Cherone has always been a lyrical champion.  It’s not as simple as it appears, but the groove just lays waste.  The next track “Cynical Fuck” turns it up further.  It is pure smoke, and perfect for the decade it was written in.  “Tell Me Something I Don’t Know” takes the soft/hard approach with a loud droning Nuno riff.  It’s another brilliant song, and harder than what Extreme were doing before.  Much of Waiting for the Punchline is driven by the bass and drums.  The interesting thing about this is that drummer Paul Geary left during the making of this album, and was replaced by Mike Mangini who is now in Dream Theater.  You hear two very distinct drum styles through the CD.  Geary has a straight ahead approach, while Mangini is capable of just about anything.  His first track is the single “Hip Today” and you can hear how his beats are anything but basic.

“Hip Today” is a good tune and a good indicator of what the album sounds like: Bass, drums, guitar. Listen to how the rhythm guitar drops out when Nuno solos. Just like the first classic Van Halen. The lyrics sound bitter as Gary warns the next generation of bands that their time too will end.  Things slow down a little on “Naked”, before the side-ending instrumental “Midnight Express”.  This is a truly brilliant track, proof that Nuno’s stunning plectrum practice has paid off.   When it comes to acoustic guitar work in rock and roll band, Nuno is among the very best.  “Midnight Express” gives me callouses just thinking about it.

Dark moods commence the second side with “Leave Me Alone”, a sentiment many of us understand.  Don’t worry about me — I’m happy alone sometimes.  Nuno uses volume swells a-la Van Halen’s “Cathedral” to create a nifty riff.  Into “No Respect”, Nuno makes his guitar purr, while the rhythm section throws it into overdrive.  “Evilangelist” tackles the religion questions again, with a funky riff and cool digitized chorus.  The dark and heavy vibes give way to light shortly on “Shadow Boxing” and “Unconditionally”.   Both tracks are brilliant but different.  “Shadow Boxing” might be considered the “Hole Hearted” of this album, while “Unconditionally” leans towards “More Than Words”.  Neither are re-writes, but those are the easiest comparisons.

One final surprise is the unlisted bonus track.  It wasn’t on the cassette version, but you will find the title track “Waiting for the Punchline” after “Unconditionally” (or “Fair-Weather Faith” on the Japanese CD).  There are two cool things about this.  One: it’s an awesome track, much like the angrier stuff on side one.  Two: it closes the album even better than “Unconditionally”.  Great little surprise so don’t hit “stop”!

The thing about Waiting for the Punchline is that it’s a grower.   The first couple listens, I thought “It’s not as good as their old stuff, but what is these days?”  The new stripped down Extreme didn’t seem as interesting as the lavish one from Extreme III or the flashy one from Extreme II.  After a few listens, different textures began to emerge, add their own colours and depth.  Particular with the guitar work, but also the rhythms, there is much delight to be discovered here.

5/5 stars

REVIEW: Hollywood Monsters – Thriving On Chaos (2020 Japanese/bonus track)

HOLLYWOOD MONSTERS – Thriving On Chaos (2020 Voice Music, Japanese import)

Supergroup?  Or just a good time?  Singer/guitarist Steph Honde, drummer Vinny Appice, and bassist Ronnie Robson gathered a load of friends and recorded a fun heavy metal album of originals and covers.  There is also a healthy helping of Canadian content (such as Robson in the core trio)!

Opener “A Scream Looking For a Mouth” is a raging heavy metal track along the lines of vintage high-voltage Motorhead.  Hell of an opener.  Add Deep Purple’s Don Airey on guest Hammond organ solo, which just hits the right spot amidst all that raging.  “Speak of the Devil” continues the heavy, though not the speed, thankfully, or you’d be seeing a chiropractor from all the headbangin’.  A catchy chorus and solid riffing make it another instant winner.  Solid metal.  A chunky riff kicks off “Something Wicked”, a really fun uptempo rocker.

Things get slower and darker on the monumental “Running Up Hill”, which is instant hit material.  Ted McKenna on drums.  Instant classic, with a chorus that kills.  Regardless of the daily struggles we face, Honde reminds us, “Never surrender!”  It’s a message of positivity, and the best track on the album.

“Numb” is another good one, grinding out a riff slow an’ easy.  The added keyboards provide texture.  Even better is the beautiful acoustic ballad “In This House”.  Honde has an excellent acoustic album called Empire of Ashes, and this track easily could have fit on it.  Though he’s a rocker, he is exceptional at tender acoustic ballads.

The first cover is “I Don’t Need No Doctor” featuring Jim Crean on backing vocals.  It kicks all the expected asses, and Honde’s guitar soloing is tasty as hell.  Next up:  Canadian content with the Goddo cover “Drop Dead”, featuring Greg Godovitz on co-lead vocals and Tommy Denander on lead guitar.  It smokes, and that lead solo?  Set phasers to stun!

“Thriving On Chaos” is another impressive original.  It has a slow, dramatic riff that is somehow familiar.  Excellent songwriting, and hard to pigeonhole.  It’s followed by a very Maiden-esque song called “Fortune Teller”, which has a vibe very similar to some of the tracks on Fear of the Dark.  Fred Mika plays drums on this tempered-steel monster.

The final cover (and Canadian guest) is the Thin Lizzy cover “Cold Sweat”, as sung by Danko Jones.  Danko is the perfect guy for it!  He nails the Phil vibe, yet with his own snarl.  And the Steph Honde guitar solo?  Call the fire department!  This alchemy of Jones/Honde/Appice/Robson is pure combustion.  You can seldom go wrong with a Thin Lizzy cover, but here everything goes so, so right.

Always a surprise when the Japanese bonus track is one of the highlights.  The heavy, thumping “I Am the Best You Can Get” slays!  “Heavy” is an understatement!  Vocalist Steph Honde goes from scream on the verses, to growl on the chorus.  The droning chorus is the best part!  This one features (Canadian) Glen Drover on lead guitar and Alexis Von Kraven on the relentless drums.  The Japanese CD even comes with a printed interview with Steph Honde – though I cannot read Japanese!

Pick it up – shell out for the Japanese if it’s within your means.

4/5 stars