Holen MaGroin

GUEST REVIEW: Jane’s Addiction – Jane’s Addiction (1987)

Guest review by Holen MaGroin

JANE’S ADDICTION – Jane’s Addiction (1987 Triple X)

In 1987, the stage was set for a new exciting sound to challenge the successful glam metal scene. Some thought that metal had become gluttonous and bloated, filled with commercial aspirations that betrayed the genre’s roots. The alternative revolution started not with Nirvana’s Nevermind, but four years earlier when Jane’s Addiction chose to begin their recording career in an unorthodox way. They decided to make their debut LP a live album. Several of the songs on this live album would never be re-recorded for a studio LP, leaving these the only official versions of the songs. At the height of the glam metal craze, Jane’s Addiction was a much needed breath of fresh air in the rock world. Many different styles of rock were being played on the Sunset Strip, but up to this point only the more pop-oriented groups were receiving mainstream attention. This self-titled album at points is a heavier, more aggressive album than a lot of the stuff that was being passed off as “metal” at the time, without actually being metal. At other points, it displays an emphasis on songwriting depth over quick catchy gang chorus melodies. The ballads on this album are of an organic nature, and acoustic guitars play a dominant role in the proceedings.

Jane’s Addiction is an emotionally honest offering. It is a very passionate and energetic recording that shows the full dynamic of the band better than any of their later releases. While their first two studio albums are superior efforts overall, they don’t display the many different influences of the group’s sound as clearly as they do on this record. While they would distill those influences into something truly unique and original on Nothing’s Shocking and Ritual de lo Habitual, this eponymous album shows the influences spread out further into different songs, offering a unique glimpse into what makes the band’s later material tick. Compare the brash speedy opener “Trip Away” with the earnest bass driven ballad “I Would for You”. Or the dirty distorted Zeppelin style struts of “Pigs in Zen” with the acoustic roots rock of “My Time”. It’s a unique experience that doesn’t at all feel like a band trying to find their footing, but one that is about to achieve their full potential.

This concert at The Roxy Theatre captures them as raw as the band would ever be. The recording isn’t stellar, but the production fits the music quite well. The music is emotionally raw and open, so the recording should and does match. Some studio overdubs were utilized during post-production, but these don’t bother you in a way that they would on another live album. Despite being recorded live, Jane’s Addiction doesn’t feel like a conventional live record in the way it progresses. This recording was meant to be an introduction to the band, and it seems as though they thought that the best way to capture the pure power of their sound would be to record the basics in a live setting, while enhancing the recordings with additional guitars, drum parts, and things of that nature to create a hybrid. You get the power of a live recording, with the addition of multiple guitars to hold down the rhythm when Dave Navarro takes a solo. These overdubs aren’t deceitful, because the band doesn’t make any effort to conceal them. They are simply meant to augment to original recording, to give the songs the best possible presentation on the band’s first outing.

The songs themselves are superb. Jane’s Addiction had a well of talent from all four members. In the inspired tribal beats of Stephen Perkins, who is better described as a percussionist than as a drummer. In the urgent bass lines of Eric Avery, whose playing propels the songs along and keeps them from plodding. In the great feeling of Dave Navarro, who isn’t the flashiest player, but knows how to fill space and throws in some of his tastiest soloing to the aggressive punkish “Whores”, one of the heaviest tunes on here that blends the aforementioned punk influences with a metallic sheen and a good portion of spirited melodic vocal chants from Perry Farrell that call to mind a world music influence. Perry Farrell’s voice is more aggressive and gravelly on this recording compared to his screechy sound on later albums. He’s not a great singer, but he possesses a unique voice that sells the material with conviction. His lyrical abilities are also superlative, with many of them being very personal.

Nowhere is this more evident than on “Jane Says”, an early version of the song that would later become their biggest hit on Nothing’s Shocking. The song is just two chords, yet the words tell a tale that is so entrancing that it maintains attention throughout its entire run time. It’s a song about a real life woman that Perry Farrell knew named Jane, and her struggle with drugs and abusive relationships. The re-recorded version is superior, but it’s interesting to hear how the song got its start. It conveys a message that many living in modern society can relate with. The feelings of being so overwhelmed and disenfranchised with your current way of life that simple change is not enough to satisfy you. You feel as though you need to completely overhaul your life, and leave what you have behind to start a new beginning in a foreign land “…Jane Says I’m going away to Spain…”, but practical reasons keep you from fulfilling that daydream “…when I get my money saved…”. It’s truly an alt-rock classic, proving that you don’t need hundreds of layers of backing vocals to write a song that connects with people.

To offer their fans an even greater connection to the music, they use familiarity in two spirited covers. Lou Reed’s “Rock & Roll”, and Rolling Stones’ “Sympathy for the Devil”, known here as simply “Sympathy”. These cover versions are done in the band’s style, and actually expand upon the originals thanks to Dave Navarro’s perfectly melodic playing in “Rock & Roll” and the unmistakable percussive backbone from Stephen Perkins in “Sympathy”. All the band’s strengths come together on“My Time”, one of the finest selections on the entire album. It’s a folksy rock song with acoustic guitar and harmonica parts, complimented by the perfect amount of percussive flair. This song is more melodic than many of the others on the album, and gives the listener a transcendent feeling. It’s one of those songs that is so beautiful and so moving that it makes the listener feel as though they’ve broken through some new musical barrier, and are floating in a state of emotional and sonic bliss. “My Time” is even more potent when listened to on headphones, and under the dark cover of the night.

As the night wears on, the record bookends “Trip Away” with “Chip Away”, containing some tribal beats and appropriate African influenced chanting from Perry Farrell. While Jane’s Addiction would garner endless acclaim for their first two studio efforts for Warner Brothers, this independent live debut on Triple X would go sadly overlooked. The band can be considered the alternative spiritual successor of Led Zeppelin. However, their music and style is clearly their own. They capture the transcendental sprawl, intensity, and intimacy of listening to a Led Zeppelin album in a way that copycats like Kingdom Come or Greta Van Fleet cannot.* Those two bands and others like them can ape Zeppelin riffs, vocal styles, and stage moves, but they don’t capture that unique and adventurous feeling that listening to one of their records always brings. Jane’s Addiction manages to capture that feeling three times over, with the first of those three times being on this absolutely enchanting live outing.

4.9/5 stars (only because the next two are even better)

1. “Trip Away”
2. “Whores”
3. “Pigs in Zen”
4. “1%”
5. “I Would for You”
6. “My Time”
7. “Jane Says”
8. “Rock n Roll” (Velvet Underground cover)
9. “Sympathy” (Rolling Stones cover)
10. “Chip Away”

* LeBrain agrees

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GUEST REVIEW: Kix – Hot Wire (1991)

Guest review by Holen MaGroin – part 5 in his KIX series

KIX – Hot Wire (1991 Atlantic)

It took the almighty Kix three years to follow up their commercial breakthrough Blow My Fuse. When they did, they had a new record contract, and an assload of debt from their first three albums. Being that this was 1991, the clock was ticking before that putz from Seattle would change the face of rock music forever by replacing talented musicianship and fun with glorified punk songs about deodorant. The resulting album Hot Wire was the band’s heaviest album to date, with their hard rock influences taking over their sound completely. While Hot Wire is still an entertaining listen, it’s not as consistent as the albums that preceded it, and is a little derivative at times.

Hot Wire is jumpstarted by the title track, which starts off with a riff that sounds like Ted Nugent’s “Just What the Doctor Ordered”, and ends with a loving homage to “Have a Drink on Me”. The sonic annihilation in between is a whole hell of a lot of fun, and has Kix playing some of the most aggressive music of their career. Steve Whiteman in particular is taking no prisoners with an absolutely electrifying vocal performance that commands attention and respect. The song juggles the head banging verses with a trademark melodic Kix chorus that will blow your mind. Maybe Kurt Cobain was listening to this when his Kurt Cobrains hit the floor in April of 1994. It’s a great choice to open the album with, as it dispels any notion that Kix has become less hungry as a result of their platinum success.

Kix follows it up with what could only be described as a tribute to AC/DC’s “Big Balls”, complete with a Bon Scott impression. In lead single “Girl Money”, Whiteman channels Scott while talking about a woman of low moral fibre across the bar. The chorus is an absolute explosion of melody, literally. If you listen carefully, you can hear cannons going from the left to the right speaker after the lyrics “bang boom party”. The attention to detail is not only amusing, but it reflects the sonic identity of the record. The production on this album serves to polish the rough edges while retaining all the sonic power that Kix have to offer. It sounds good, but there are no frills to be found. This is a rock and roll record, and the band is going to treat it as such. No more Cool Kids new wave pandering, the group is out to rock your world.

 The fourth slot on the album is left to “Tear Down the Walls”, a weak ballad that was probably recorded to capitalize on the success of “Don’t Close Your Eyes”. It’s pleasant enough, but one can’t help but compare it to superior ballads on past Kix records. While it’s not nearly as iconic or enjoyable as “For Shame”, “Walkin’ Away”, or “Don’t Close Your Eyes”, it’s still a much better decision to listen to it than to marry Courtney Love, in my opinion only of course.

Kix only has one ballad again, and gets away with it by preceding it with the hook laden “Luv-A-Holic”, which has a similar structure to “Get It While It’s Hot” from the previous record, done in a heavier style that is more representative of the Hot Wire sound.  It’s one of the best songs on the album, and the deal only gets sweeter when “Rock & Roll Overdose”, (a song title I believe Kurt took too literally) greets the listener after the lacklustre ballad. One of the heaviest tunes Kix have ever done, it’s a nice ode to rock and roll itself with Whiteman bringing back his powerful raspy vocals from the title track. Guitarists Ronnie “10/10” Younkins and Brian Forsythe really get to shine on this track with each getting a chance to show off their solo chops. It’s much more enjoyable than listening to nursery rhyme melodies over three chord punk songs and pretending like you hate any band that has reached any kind of success, including your contemporaries that praise you.

What sinks the album is a sense of monotony. Some of the lesser tunes begin to sound the same, and some of them are lyrically lacking. “Hee Bee Jee Bee Crush”, “Bump the La La”, and “Same Jane” were in desperate need of penmanship reform. There’s also not as much variety as you would normally expect from a Kix album, as they seem to be firmly rooted in a hard rock sound. Choruses lack some of the staying power that they had on earlier albums, and the songs begin to run together.

While by no means a bad album, Hot Wire comes as a bit of a disappointment after the quality of the two previous outings. Unfortunately, due to shifting (shitty) tastes, Kix would only release one more album on their major label (1993’s appropriately titled Contractual Obligation Live!) before being pushed to the indie world. The mighty titans would regroup for one more studio album with the original lineup.  They disappeared for the better part of twenty years before reemerging with a new bassist as strong as ever.  As for Hot Wire…

3.5/5 stars

Authors note: I don’t really hate Nirvana, but they’re just so easy to poke fun at. I would take Badmotorfinger, Ten, & Ritual de lo Habitual over Nevermind any day of the week though.

GUEST REVIEW: Kix – Blow My Fuse (1988)

Guest review by Holen MaGroin – part 4 in his KIX series

KIX – Blow My Fuse (1988 Atlantic)

When Kix released their fourth album on Atlantic, the band would finally receive the recognition and popularity that they deserved. Blow My Fuse is one of the most fun hard rocking albums of the late ‘80s without the guilty feeling that you get listening to the other “hair bands” that were dominating MTV. You could blast this record in a way that you couldn’t with say, Warrant, and not care who heard you, because Kix aren’t a hair band. They’re a hard rock band. These glorious Maryland hicks with a collective explosion fetish crafted a glorious hard rock album in the mold of AC/DC, with the pop hooks necessary to get proper attention on the radio, without ever watering down the rock. Produced by Tom Werman (with help from Duane Baron and John Purdell), Kix finally teamed up with a production team that knew how to turn their material into charting hits without diluting it.

Album opener “Red Lite, Green Lite, TNT” displays Jimmy “Chocolate” Chalfant reclaiming his territory after an Anton Fig substitution due to a broken arm on the end of the last album. Pounding away with a simple but effective beat, he sets the stage for the duo of Brian Forsythe and Ronnie “10/10” Younkins to blanket the track with midrange guitar goodness. The production on this album is really outstanding. The power of Kix clearly shines through, but with a new sheen to polish some of the rough edges. Steve Whiteman builds anticipation with restraint in his singing at the beginning of the song. Kix are masters of both tension and dynamics. They know just how long to string the listener along before delivering the heavy payoff. The twin guitar duo comes in with the song’s main riff, and Steve Whiteman pumps on the gas taking his vocals full throttle with rasp and power. Note the background vocals before the chanted chorus, which add some killer harmonic melody to the blistering hard rock. A call and response section between the harmonica and the guitar build off each other to end the song leaving the listener with his ass bruised and sore from being kixed for four euphoric minutes.

After taking a minute to ice the destroyed rectum, “Get It While It’s Hot” starts with a synthesizer run and some backwards vocals that recall their new wave roots. However, this is a clever ruse. Soon the guitars come in and betray the intro. This is another full on rock tune with the drums really in the driver’s seat during the verses. The guitarists play a few chords, rest, and then play a few chords, then rest; each phrase expanding upon the last to complete the picture at the end of five measures. It’s a tension building technique Kix would use again. The chorus drastically changes things up, but the energy level doesn’t dip at all. At this point we’re greeted by the song’s hook. With some era appropriate multi-tracked backing vocals, it drives the point across well.

Even with all the fantastic tunes, the reason that this album went platinum was because of the ballad “Don’t Close Your Eyes”. A number eleven hit in America, the song put the band on map, and on MTV. However, it wasn’t originally released as a single. When Kix were on tour with Great White, their manager Alan Niven asked the band why the song hadn’t been released as a single. Niven, despite being the manager for Great White, called up Doug Morris (president of Atlantic Records at the time) and told him they were sitting on a massive hit. They released it, and the rest is history. As for the song, it’s not a typical fluffy power ballad of the late ‘80s. It has more in common with “Dream On” than it does “Home Sweet Home”. The song is an anti-suicide PSA, a reassuring topic that proved Kix had more on their mind than just sex and explosions. It’s a great song, haunting and emotional. The lyrics and the conviction with which Whiteman sings them makes the hairs on your arm stand up. “Don’t Close Your Eyes” is a powerful song that has probably saved more than one or two lives as well, and is one of the most respectable power ballads of the 1980s.

But who cares when they’re singing about sex when the music backing it is of such high caliber? “Cold Blood” was the first single, and it sold much better after “Don’t Close Your Eyes” became huge. This song deserved to be a huge hit. It’s a stone cold classic. Starting out with a riff sounding like Electric-era The Cult, and progressing to total pop harmony payoff, this one is definitely one of the band’s best tunes. It also received moderate MTV airplay, and became the band’s second most popular song, a place only challenged by the album’s title track. A very fun and electrifying number about singer Steve Whiteman getting his fuse blown, his tower shook, his wires crossed, his hair lit up, his senses overloaded, and his juice felt. The lyrics speak for themselves; this one is another genre classic.

The album is rounded out with several other dynamic hard rock tunes, and a supernatural ability to insert pop melodies into them without diminishing the power one iota. There is no filler on this album, every song is a keeper. A 30th anniversary edition remixed by Beau Hill was announced earlier this year. Start off with the original that has been serving the public well for three decades now. If you were only to buy one Kix album, this is the one.

5/5 stars

GUEST REVIEW: Kix – Midnite Dynamite (1985)

Guest review by Holen MaGroin – part 3 in his KIX series

KIX – Midnite Dynamite (1985 Atlantic)

In 1985, Kix returned after two commercially unsuccessful albums, with what they consider to be their magnum opus, Midnight Dynamite. This is where the new wave styles of the first two records take a backseat to the hard rock influences. Later on, they’d completely shun their new wave influences by kicking them out of the car, and making new wave watch hard rock shag its girlfriend. For now, the blend was still somewhat apparent, but with the mix changed.

Produced by Lebrain’s favorite producer of all time (Beau Hill), Midnight Dynamite definitely sounds like its era, much more so than the debut or Cool Kids. For the first time we get some electronic percussion thrown into the mix and it is the first album by Kix to feature synthesizers in a prominent role. This could have been disastrous, but luckily Kix utilizes them to color the sound and they don’t diminish the hard edge of the guitars one iota. This is a hard rock record first and foremost, and with Ronnie “10/10” Younkins back in the mix, the guitar duo of the first album is reestablished. Pressured once again to work with outside writers, the primary guy for the job is Bob Halligan Jr. If the name sounds familiar, it could be because he wrote two songs for Judas Priest (“Take These Chains” & “Some Heads Are Gonna Roll”), and co-wrote with Icon on their second album Night of the Crime. Boasting some impressive credentials, the songwriting takes a step up this time around. Nearly all the songs are collaborations between bassist Donnie Purnell and Halligan.

The album is jump started by the title track. A slow and heavy number, it was a bold choice to open an album with.  Fortunately for Kix, it completely works. The intensity of the verses builds up tension for the ridiculously catchy harmonies in pre-chorus, where we finally get the big payoff during the chorus. This is melodic hard rock done right, without the frills that are usually associated with AOR or other bands of the time period. Kix made sure that the material had balls, something that many other bands of the time period eschewed for chart success. The intensity of the title track is followed by the erotic “Red Hot (Black & Blue)” with a sleazy stuttering riff. The production on this song is a little heavy handed with the reverse reverb in the verses, but it’s nothing that ruins the impact. Another song with dynamics, the verses stutter along with spunk, until the chorus where that Kix fire is unleashed. Some pretty cheesy lyrics, but if you weren’t prepared for that then why would you be reading a Kix review?

One of Beau’s buddies Kip Winger earns himself a writing credit on track number 3, “Bang Bang (Balls of Fire)”. As you can tell by the title, it’s one of the more generic rock songs on the album. It’s one of the least substantial, but it’s still an enjoyable tune. “Layin’ Rubber” is much better, as all the elements that make up the Kix sound are blended masterfully. Obviously more hard rock orientated than material of the past, the track features bubblegum pop chants before launching into a hard rock riff, while the intensity of the music elevates as the song goes on. Each section of the song’s structure is composed to perfectly transition into the next. One of the best tracks on the album, it manages to be damn brutal, and also catchy as shit.

The rest of the album proceeds in this manner, blistering hard rock tunes with undeniably catchy melodies that are never too sugary enough to make you sick to your stomach. There is only one ballad “Walkin’ Away”, which is built on synthesizers, but has enough of a kick to be enjoyable. “Cold Shower” was the other single, which features some rap like vocals in the verses and singer Steve Whiteman hitting some glass shattering notes before the chorus. It’s one of the most eccentric tunes on the album, and I’m surprised it was picked as a single.

Surprising songs or not, this album is one of the most underrated of the era. It’s a mystery as to why it didn’t sell better than it did. Label indifference? If you’re a fan of the rock music, you owe it to yourself to pick up this album and the even better follow up Blow My Fuse.

4.75/5 stars

A note for Kiss fans, Anton Fig plays drums on the last two tracks because Jimmy “Chocolate” Chalfant had broken his arm.

GUEST REVIEW: Kix – Cool Kids (1983)

Guest review by Holen MaGroin – part 2 in his KIX series

KIX – Cool Kids (1983 Atlantic)

Coming off the heels of their unsuccessful debut album, Kix returned to the studio with new producer Peter Solley to shell out what would be their most polarizing and least rocking album. Cool Kids is the most commercial album that Kix every recorded, pressured by Atlantic to deliver a hit after the failure of the debut to find an audience. This was 1983, just before Pyromania broke through the stratosphere to make melodic hard rock/heavy metal a viable commercial direction. Atlantic still had no idea how to market Kix, and also didn’t know what direction to push them in order to find an audience. For this album, they decided to push them towards the new wave aspects of their sound, forcing them to work with outside writers for the first time.

The production of Cool Kids is much more slick and pop-orientated than the rough and ready production of the debut. It’s obvious that the band was pressured into this direction, as a lot of the time they don’t sound comfortable in their own skin. Signer Steve Whiteman’s voice lacks its usual power and grit on this recording, likely being asked to hold back for the songs by producer Peter Solley. Another notable change to the band’s sound is the presence of new guitar player Brad Divens, temporarily replacing Ronnie “10/10” Younkins. This is the only Kix album to feature Divens, as Younkins rejoined them by their next album Midnight DynamiteCool Kids lacks the fiery and spontaneous edge of Younkins’ playing, and contributes even more to the album feeling sterile.

Despite these flaws, this is still a Kix album. There are still enjoyable moments throughout the record, quite a few actually. They are however, overwhelmed by the material that doesn’t work on this album. Opener “Burning Love” doesn’t introduce the set of tunes with a lot of power. Kix always has energy, but it seems to be counteracted with the sterile production and addition of keyboards. That being said, it’s a perfectly serviceable melodic rock tune, but there’s nothing genuinely exceptional about it. With it’s bouncy keyboards and lazy riff, it doesn’t sound much like Kix. This is one of the tunes that wasn’t written by the band. The title track follows it in a similarly sleek fashion, but is ultimately more enjoyable because it is more guitar-driven, and the band’s natural energy pushes through much more. It was also written by outside writers, but it is a very catchy tune. I’d say it’s a great melodic rock song for the early ‘80s. Unfortunately, it doesn’t sound much like Kix either.

After two tracks that fail to encompass the Kix sound, the first band-written track is up with “Love Pollution”. One of the only straight-up rockers on the disc, it’s also one of the best songs on the album. Written by Whiteman and Forsythe, the song burns along with a killer guitar riff and a lot of attitude, and accompanied by piano in the chorus that actually helps the song. A truly killer tune, one that I think represents the direction that this whole album should have gone in. It has a sound similar to that of the genre defying debut, but in a harder rocking vein. You can tell already that Kix wanted to toughen up their sound, though the shiny production doesn’t help that point across.

Next up is the outside penned “Body Talk” which used talk box three years before Bon Jovi, and also has one of the absolute worst music videos of all time. What the hell was the director thinking? Kix playing at what looks like a high school gym with only girls working out doing weird-ass synchronized exercise dances? Yeah, they really dropped the ball with this one. I find it strange that with this promotion Atlantic was confused about why the band weren’t doing well commercially. Luckily for them, Kix were still obscure enough that hardly anyone has ever seen that video. As for the song, it’s an uncharacteristic new wave workout, and a co-lead vocal between Steve Whiteman and drummer Jimmy “Chocolate” Chalfont. It’s a catchy pop tune, but it couldn’t be further from the Kix sound. Atlantic definitely missed the mark by making them record this one.

And if you didn’t think they could fall further into Flock of Seagulls territory, we get “Loco-Emotion”, penned by bass player Donnie Purnell. Steve Whiteman gets to play saxophone on this song, and for the verses it’s easily the weirdest Kix song ever. While the chorus contains a get up and go kick in the pants, the verses are just off-putting. Their first album used Devo primarily for what little new wave influence they had, but now they were courting the sound of several shittier new wave bands. Fortunately, from here on out everything was penned by the band, and there is nothing as jarring as this song.

However, a lot of these songs penned by Purnell are strange, and not up to his usual standards. “Mighty Mouth” is a powerful rock tune that gets bogged down by a very awkward and annoying chorus with Whiteman screaming the title. It seems a bit too cheeky for its own good, but is nothing compared to the campy “Nice on Ice” and the absolutely awful “Get Your Monkeys Out”. These songs lean hard on the bubblegum pop equation that was blended so successfully on albums before and after this with hard rock. Here, thanks to the shiny production, they sound cheesy and downright embarrassing. Thankfully, the album is redeemed with the two closing tunes.

Kix break the general rock standard of having the penultimate song be the worst on the album, by having the penultimate song be the best on the album. “For Shame” is an acoustic ballad years before “When the Children Cry”, or “Patience”, or “More than Words”. Beginning to see a trailblazing pattern? Yes, this is a heartfelt ballad that relies more on a nostalgic feeling than a sappy one. It uses the emotion of regret as the basis of the tune, which is an effective emotional connector. Whereas other love ballads seem derivative, this one seems genuine. The lyrics are very simple, but powerful. They detail summertime love that is lost with the passing of the seasons, with the two lovers unable to find each other afterwards Grease style. Thankfully, this song is stripped of the excess production that plagues most of the rest of the album, which keeps it sounding real, unlike other synthetic love tunes of the era. “For Shame” is a fantastic ballad, one that Kix would only surpass with a #11 hit on the Billboard charts (more on that when we get there).

They round the album out with the spiritual brother of “Love Pollution”. The other hard rocking song on the album, it features a writing credit from everyone in the band. It’s a speedy number the glides by ending the album on a high note. “Restless Blood” is an energetic kick in the pants to conclude the record with grace. Cool Kids is arguably the least essential Kixrecord, as it’s sound is the result of the label pressure. For the most part, it doesn’t represent the Kix sound, and a lot of the songs that do represent that sound, don’t get the equation as balanced as on the debut or any of their later albums. Thankfully, Kix would not let us down again. Atlantic finally realized that they had their hands on a hard rock band after this record tanked as bad as the first one. Our heroes would resurface again stronger than ever in 1985 with possibly the greatest album of their career. If this was the stepping stone that made Midnight Dynamite possible, so be it.

2.5/5 stars

 

GUEST REVIEW: Kix – Kix (1981)

Guest review by Holen MaGroin

KIX – Kix (1981 Atlantic)

Kix: one of the most beloved and influential rock bands of the time that only made it big after years of great albums, legendary live performances, and a work ethic that never failed them. Unfortunately, they only seemed to stay there for the album/tour cycle of their classic Blow My Fuse. While over the years they’ve returned to being more of a cult act than a mainstream rock group, the effect the left on rock culture shouldn’t be dismissed. It’s common knowledge that Bret Michaels liked the group enough that he decided to “borrow” some moves from singer Steve Whiteman. Anthony Corder from Tora Tora called Kix a huge influence on the development of their second album Wild America. Despite all their influence, the band never seemed to secure a position as one of the most popular acts of the day. Bad management, label indifference, and being a little ahead of their time prevented them from becoming the multi-platinum success they deserved to be on every one of their albums.

As far as being ahead of their time, this eponymous debut was released on a major label in 1981, when even Mötley Crüe were still grinding it out on Leathür Records. Kix were one of the first hard rock acts signed from the decade, but were hardly acknowledged for it. This debut album sold very poorly, and original prints are tough finds out in the wild today. 1981 may have been just too early for a release like this to find widespread success. It’s also possible that Atlantic didn’t know how to market the band, as their debut album is an interesting and masterful blend of hard rock, new wave, and bubblegum melodies that sound like they could have come from the 1950s.

Produced by Tom Allom (Judas Priest, Black Sabbath, Def Leppard), the album is given a very punchy and dynamic sound. The drums sound big and chunky, and everyone is audible in the mix. Anyone familiar with the Kix of the later ‘80s may find this release a bit jarring at first. There’s a certain quirkiness to the songs that isn’t as prevalent later on in their career. This would be the new wave sensibilities. Not all the guitars are overdriven in a way that you’d expect from a hard rock record. There are a number of songs that glide by with clean guitars, and still manage to rock with a ton of energy thanks to the contributions of drummer Jimmy “Chocolate” Chalfont, and the contagious exuberance of singer Steve Whiteman. Of course, not all the record is this style, there are songs where the guitars have plenty of distortion, and they’re power loaded with midnight dynamite force.

The album opens with the scorcher and fan favorite “Atomic Bombs”. Starting with air raid sirens and some tasteful drum fills, the suspense of the song builds as a riff that Poison probably ripped off for “Look What the Cat Dragged In” tethers the song, and keeps it from completely going out of control. The first Kix song about blowing things up (a favorite topic of these Maryland hicks), it sets the tone for the album. It’s a relentless hard rock number with dynamics, and a nice solo that manages to create a feeling of the impending chaos of fallout. Opening with a rocker was a good choice; it gets people’s attention so that they’ll be more open-minded about what’s to come.

“Love at First Sight” is the first of the quirky Kix tunes. It’s a bouncy new wave influenced song, without any keyboards. If the thought of new wave scares you, it really shouldn’t because it’s so skillfully blended with these songs. It’s more Devo than it is Flock of Seagulls, and it shouldn’t turn off anyone even if they don’t enjoy new wave. The song gets a kick in the ass from guitarists Ronnie “10/10” Younkins and Brian Forsythe, as the distortion kicks in and the guitar solo gives the song the kick it needs to succeed. They were never the flashiest or greatest players of the ‘80s, but they were melodically wise, and knew what fit the song.

At this point in the record we get yet another change of pace, the ‘50s heart throb tune “Heartache”. With a bubblegum melody bound to get stuck in your head, that goddamn Kix band gives another change of pace. Rarely do audiences get this much diversity from a record of any genre. Kix would never release another album as eclectic as this one. Bass player Donnie Purnell locks in perfectly with the guitars and drums to give this tune an infectious energy that seems to fuel this entire album. The song builds with the addition of more guitars. The band has mastered dynamics, and knows just how to play them for the benefit of the song. The album is filled with tunes that blend each of these styles, some in which they are blended so seamlessly it’s impossible to pick what style is dominant. Take “The Itch”, the riff and song structure sounds similar to the underrated AC/DC tune “What’s Next to the Moon”. They’ve somehow taken that song structure and turned it on its head. Giving it breezy rock verses that build in intensity until the chorus which delivers another catchy melody complete with claps and gang backing vocals. The blend of styles shown on this album is seriously impressive for such a young group.

In case that wasn’t impressive enough, Kix closes the album with concert favorite “Yeah, Yeah, Yeah” (not an Alice Cooper cover). It’s a hard rock tune that lasts seven minutes, featuring the infamous rant from Steve Whiteman, complete with crowd noise. Steve is upset because the woman he’s been seducing has puked all over his floor. That’s a big mistake. Don’t puke on Steve Whiteman’s floor. Go outside and do that. The subject matter is juvenile, but this is rock and roll. It closes the album on a fast tempo upbeat note. Every song on here could be considered upbeat, no ballads, the energy never lets up.

As the album finishes a look at the liner notes reveals that this is the only Kix album in which they weren’t pressured to work with outside writers (at least of the ones on Atlantic). It can be concluded that this album is the purest distillation of the Kix sound. While I like some of their more hard rocking albums later down the line better, this album is interesting because of the fact that it and its much lesser follow up Cool Kids (the only Kix album I’m not overly fond of), contain a new wave style that the band would never return to. It’s interesting hearing the young Kix and what their original vision is. Some people consider this the best Kix album. Not me, but it’s still pretty damn good.

4/5 stars