The final episode of the Pepsi Power Hour aired at the end of the summer of 1991. The man with the sad honour of signing off was veteran Michael Williams. Off and on, Williams hosted the Power Hour since 1986 if not earlier. It was filmed at a welding shop in Calgary, Alberta. Because metal? (Bad, bad idea! Audio engineers, your thoughts on this setting?)
Williams played Metallica’s “One”, and “Hunger Strike” by Temple of the Dog. The shape of things to come.
The episode also features an interview with a new band called The Scream, featuring an up-and-comer named John Corabi. A couple years later, and Corabi would be the new singer in Motley Crue.
The very last band ever played on the Pepsi Power Hour was Van Halen. It was a big interview by Kim Clarke Champniss regarding the new album For Unlawful Carnal Knowledge. The very last song ever played was “Runaround”.
The Power Hour was supplanted by the inferior Power 30. It was a significant change. I rarely missed a Power Hour. The Power 30 was rarely worth catching. However, look for the ad for a promising new Saturday show called Start Me Up – three hours of rock!
YouTube has forced me to butcher this video to get it up, so there are no music videos. The Van Halen interview is mutilated. There are some ads and all the talking. It’s history!
Speaking of history: 100 VHS Archives! And counting! I started posting these in 2019 and I still have plenty of files left to upload, and a few more tapes to play. I’ve been taking it easy lately because the software is user-unfriendly and my VCR is making odd noises. But we’re not done. Not by a long shot.
Promo CDs are a funny thing. Any promotional CD that you have ever seen or owned was free at some point in its life. Since promos were intended to be play copies, or giveaways, selling them was highly frowned upon. When I say “frowned upon” I mean illegal though not heavily enforced. So it is funny that this 23 year old Motley Crue promo has “STOLEN FROM CKWR” (the very station that hosts Rob Daniels’ Visions In Sound), written on the disc in black marker. I did my duty and reported it to CKWR just now, but weirdly enough they could care less!
The real crime here is the “clean” version of a Motley Crue song from Generation Swine, and it is an absolute hatchet job. Unlistenable.
Why would you even bother with a “clean version” of “Find Myself”? The very second line in the song is “I gotta find myself some BEEP”! (The word was “drugs”!) The first line of the chorus is “I’m a sick mother BEEP er!” Utterly ridiculous. You’d think someone would have played it once and said “this is unreleasable”. I counted seven beeps in under three minutes.
If you prefer, the “dirty” version of “Find Myself” is on the CD too. Why was the record company Elektra pushing that song so hard? It’s a weird punky track with Nikki Sixx on vocals for the verses, with the returning Vince Neil handling the choruses. Not the kind of thing you’d really think to push at fans all excited about Vince coming back, right? But here it is, twice. Though the chorus is good, I’m not going out on a limb by calling this song “shitty”. Or BEEP-y!
Much, much, much better are the album tracks “Let Us Prey” and “Shout at the Devil ’97”. First, “Let Us Prey”. This is the only track that sounds like a progression from the ’94 self-titled album with John Corabi. Crabby even has a writing credit on it, and who knows, maybe that’s him screaming “Let us hunt!” Tommy Lee did that, according to Tommy Lee, but I think it sounds like John. It was certainly written for John to sing. “Shout ’97” is a cool remake of a song that didn’t need remaking, but it was 1997 so what’re ya gonna do? Added samples and a dance-y beat made it pretty irresistible. Mick Mars threw down some cool new licks here, although the droning guitars are very dated. Still, passing grade for “Shout ’97”.
Even though this CD has two good tunes out of four tracks, the “clean” one is such an atrocity that this gets:
Jen dug up this Facebook note that I wrote on August 8, 2008. I thought it would be nice to include as part of Getting More Tale. Even back in 2008, I was excited about Sausagefest and bitching about the Record Store. The wedding was August 31, 2008 and I was obviously very excited.
GETTING MORE TALE (Retro) #853: “The wedding is coming and life is very sweet!”
I can’t believe I haven’t written a note in more than a month. If you had told me that getting married was this much work, I wouldn’t believe you. Actually, some of you DID tell me that getting married was this much work, and I didn’t believe you.
However it wouldn’t have changed anything. I still love my crazy Leafs girl and would have married her anyway.
So what’s new? Well, last I wrote, I was just about to head to Sausagefest. I did and it was awesome. The new format needs a little work* I think, there were a few kinks in the tape. Meat, Tom and Haslam hosted a great party and we had an awesome time. Even Tyler’s dog Zeppelin didn’t bug me this time. And Zach’s lamb was DELECTABLE. My compliments to the Chef Britton.
After that, I turned 36…wow…unbelievable! However I will still tell people that I am 26.
Work is great. Unbelievable amount of responsibility and it weighs heavy sometimes. However I have been there over a year now, and it looks to be like I will be there a long time to come. There will be news about that soon but I can’t talk about that yet.**
It’s interesting. I spent 11 1/2 years working in the record store, working my way up, until there was nowhere left to work up to. A lot of people wish they could have worked in a record store, and I’m glad to say that I did it. I always have the best work stories,*** and I’m glad to say that with the glow of nostalgia, all the stories are good ones.*^ However everyone grows up, everyone gets older, and I didn’t want to be that guy who’s on call 24/7 anymore. In my 30’s I wanted to do something else.
So, I spent the last 3 years working in accounting departments, working for manufacturers and refining my skill set and experiences. It’s slowly been paying off; it’s tough starting over but it was worth it. Now I never have to bring my work home with me, and when the phone rings on the weekends it’s usually a telemarketer, not work!
So here I am about to embark on the next stage of my life, this time as a married dude. In a lot of ways I’ve become the guy I never wanted to be when I was a younger: The guy who never buys a CD by a new band because he thinks all the new bands suck. The guy who thinks nothing since 1978 has ever sounded as good. But you know what? I don’t give a fuck. I stick to my guns, always have and always will, and I’ll never go for the trends. Sure when I worked in the store I bought a lot of stuff, but my heart and soul will always be with the heaviest of metals.
Meat can bug me about the Danko Jones (ha ha),**^ but who cares…in the end he knows that I like what I like not because YOU think I should like it, but because I liked it.
This is another busy weekend…tomorrow our new bed gets delivered, tomorrow we’re going to hopefully pick our rings, and Sunday we meet with the DJ to cross the t’s and dot the lower-case j’s.
But for tonight, I think I shall rock to The Scream featuring John Corabi, and play Lego Star Wars. Yes I shall.
* This could have been the infamous “Bag of Rock” format that nearly derailed Sausagefest.
** The news was that I had been offered a permanent position, but I couldn’t say anything until papers were signed.
All I ever wanted to do is write rock reviews! But I can’t anymore, because I’ve been “Disqualified Forever” by “WASPfan”…at least as far as Motley Crue goes. This is a real shame since I haven’t reviewed Dr. Feelgood yet. I guess now I never will?
What got me disqualified? My review of Motley Crue’s awesome 1994 album with John Corabi. WASPfan prefers Vince Neil’s solo debut Exposed, which is fine since it’s also a great album. My scores for both are only half a star apart. Read on!
You have got to be kidding me! Vince Neil/Exposed was a much better album than Motley Crue/Motley Crue. I’ve owned this album for 20 years and have yet to be able to get through it in one listen. Is there some good music, yes. But you can almost hear the impersonation of Vince Neil the way certain songs are sung.
Dude, Vince Neil couldn’t sing the way Corabi sings on Motley Crue if he had a voice transplant. There is simply no comparison between the two singers, at all. Apples and oranges!
I have always thought the Crue should re-record this with Vince on vocals, just to show people what could have been. Motley Crue thought they could pull a Van Halen, and the fact is they couldn’t. They got a singer who’s defining moment in Metal History will be failing at replacing Vince Neil, and this comes from someone who owned, and loved, The Scream album before Corabi ever joined the Crue.
Hey man, be nice. Corabi was also in Ratt.
If Corabi had “it” he wouldn’t be on tour right now with the gimic [sic] of singing the Motley Crue/Motley Crue album from start to finish. He’d be headlining in his own band, singing his own songs. This album, while good musically, barely rates 3 out of 5 stars. To put Theatre of Pain and Girls, Girls, Girls below this album should disqualify your opinion on all things Motley now and forever.
Now that I have been disqualified, I plan on taking up a new hobby. Visit me here for all the latest on nude cycling, coming soon!
One Night in Nashville is John’s live run-through of the entire Motley Crue album with his ace band, including his son Ian on drums. Many of these songs have never been played live, and never in sequence like this. Veteran producer Michael Wagener ensured a kickass sound.
Ian Corabi has no problem duplicating Tommy Lee’s hard hitting style on opener “Power to the Music”. John’s voice is still more than capable of shredding these songs two decades later. His rasp and power have barely ebbed. Compare this to Motley Crue’s final live album The End and…actually, no don’t compare. Corabi buries The End.
As fellow rock reviewer Mr. Deke has stated, “Uncle Jack” is one of the most pounding tracks on this CD. It was a departure for Motley Crue, a deadly serious track, and John nails every scream. The guitarist also duplicates Mick Mars’ underrated solo, note for note. Yes, underrated. Mars is rarely given the credit he deserves for creating his own style, and thereby defining the sound of the Crue.
If you know the album then you know these songs; if you don’t then buckle the fuck up.
Through the single “Hooligan’s Holiday”, Corabi and Co. breath life into songs we only know from the album. “Everybody wants a piece of the pie” — at least in this Nashville crowd they do, soaking up every riff and blistering scream. Even the complicated “Misunderstood” burns it down. Guitars instead of keyboards, backing band instead of Glenn Hughes, and it’s full speed ahead. Once again the solo is note for note, but there’s a brand new outro where it once faded.
“Loveshine” is a bit of a respite, a nice little acoustic jam a-la Zeppelin III. These last two songs are so far above and beyond what Motley Crue were capable of when Vince Neil was in the band. Corabi opened up entire new soundscapes for them to explore, and “Loveshine” is cool on the psychedelic side. Back to the rock, “Poison Apples” is a tribute to glam rock and what Motley Crue are about. “Took a Greyhound bus down to Heartattack and Vine, with a fist full o’ dreams n’ dimes…” Of all the tracks on Motley Crue, “Poison Apples” was the closest to the original Motley sound, and John owns it.
This is where you’d flip sides on the original album, so it’s the perfect spot for telling a story: track 7, “John Joins the Band”. He got the call before it was even announced that Vince had left the band, and he couldn’t say a word to anybody. One of the first songs they wrote together was “Hammered”, an old riff that John brought to the band. Even darker is “Til Death Do Us Part” which was actually supposed to be the title of the album at one point. It’s one of many long bombers, but things lighten up a bit on “Welcome to the Numb”. Dig that slide guitar riff, another very Zep aspect to this batch of songs. By John’s intro, it sounds like a ball-baster of a song to play live. He says they didn’t think they were going to be able to do it! But they killed it, and John says that’s due to the hard work of guitarist Jeremy Asbrock.
Your head receives a good solid smack with “Smoke the Sky”, a waste-laying blitzkrieg of a smokeshow. Corabi touts the health benefits of rolling a joint. “Home grown version complements the senses, opens up my mind.” Perhaps Peter Tosh put it better, when he sang “Birds eat it,” and “It’s good for the flu, it’s good for the asthma.” Regardless of who said it best, “Smoke the Sky” is a flat-out mosh.
“Droppin’ Like Flies” continues the ass-kicking, but at a more sensible pace, trading speed for mass. And although in theory it shouldn’t work, after this fairly relentless assault, the album always closes on a ballad called “Driftaway”. After a sentimental version for the Nashville crowd, there’s a bonus track. This is another ballad, “10,000 Miles Away” from the Japanese Quaternary EP, live for the first time. Icing, meet cake.
This Corabi live album is far stronger than any of the three Motley Crue live albums. In terms of performance, John’s band just kills Motley Crue. Of course, they had a brilliant set to work with. Finally hearing these songs live, and in album context, is a long fulfilled wish. John Corabi has long been respected by the rock community and this CD is a testament to why.
1989: A clean and sober Motley Crue take over the world. Dr. Feelgood climbs to #1 and the band rivals Bon Jovi and Def Leppard in the popularity stakes.
1990: Motley continue to tour and rock them all, while announcing their next album will be a “greatest hits”.
1991:Decade of Decadence is released, keeping Motley on the charts. The new single “Primal Scream” is well received.
1992: In a shock announcement, Vince Neil is fired from the band. Unfortunately Motley are not the only rock band to lose their singer at the beginning of the 90s.
1993: Vince Neil’s solo debut Exposed is greeted by warm reviews. Motley continue to toil in the studio with new singer John Corabi.
1994: Five years after Dr. Feelgood, the re-imagined Motley finally return with the self-titled Motley Crue. Corabi blows ’em away, but the album fails to sell. Motley is forced to do a scaled down tour while the CD dropped off the charts.
This was the state of the Crue in the mid 90s. They had released an incredible album. Today, many fans rate it in the top three, or even at the #1 spot. My near-legendary Record Store cohort T-Rev agrees. “To me, they sounded more like a hard rock band than a hair metal band, because of that album.”
Absolutely true. They stepped far beyond the preconceived notions of Motley Crue. Guitars were detuned, lyrics were topical or personal. Tracks like “Smoke the Sky” might have passed for Soundgarden. On the other side of the coin, “Misunderstood” was an epic power ballad featuring an orchestra and Glenn fucking Hughes. There wasn’t a weak track in the bunch, but plenty of variety.
Most fans didn’t embrace it at the time, and instead moved on to current bands. Back then, nobody was interested. No Vince, no Motley? No way. Corabi was absolutely the right guy at the right time. Motley added his rhythm guitars and songwriting abilities, not to mention far more aggressive singing. The band had only gotten better. But by recording an uncompromising album with an unknown singer, they were indeed taking a chance. It didn’t pay off. When I was working at the Record Store, there was a giant pile of unsold Motley Crue CDs taking up space. They sat next to an equally tall pile of David Lee Roth’s Your Filthy Little Mouth. All the kings seemed to have been usurped.
At the Record Store, I first befriended the aforementioned T-Rev. The fact that both of us loved the Motley album didn’t hurt. T-Rev was the only person I knew who appreciated what they did. He loved that huge overproduced drum sound. Back in 1989, everybody had a Motley Crue T-shirt in the highschool halls. In 1994, we couldn’t get anyone to listen.
Through 1995 and 1996, magazines reported that Motley were back in the studio, working on a followup with Corabi. Bob Rock was back in the producer’s chair and the band wrote new songs such as “Personality #9”, “Let Us Prey”, “La Dolce Vita” and “The Year I Lived In A Day”. Things seemed to be going well, but record company pressure was intense. Bob Rock’s style was now passé and he was fired. Engineer Scott Humphrey was promoted to producer, and electronics began to dominate.
The pressure was not only on Motley Crue, but focused directly on John Corabi. Elektra records were eager to get Vince Neil back, a true “star”. John was getting frustrated in the studio while this was going on. Nothing he sang seemed to be good enough for Motley Crue anymore. He was asked to sing like Oasis or the Sisters of Mercy. John suggested that he just play rhythm guitar while they get Vince Neil to sing. Somehow, this made its way into the rumour mill. Before John Corabi was eventually fired, T-Rev and I had heard that Motley were considering this very same five-piece lineup. What a glorious sounding thing that could have been.
Ultimately the band fired John and got Vince back. They attempted to piece together the album that they’d been recording and re-recording and re-re-recording again. Mick Mars was frustrated as well, as his guitar parts kept getting rejected and remixed. In particular, Mars did not function well with Scott Humphrey.
Personally speaking, I lay these problems at the hands of Scott Humphrey. I read the book The Dirt, and that’s certainly where the band lay most of the blame. Have a look at Humphrey’s credits though. Lots of records loaded with electronics, like Rob Zombie’s Hellbilly Deluxe and Tommy Lee’s solo stuff. Humphrey started out as a keyboard player and programmer, and I think that high-tech style does not work with Motley Crue. That’s my personal opinion, never having met Scott Humphrey. I did, however, have a customer at the Record Store who knew Scott Humphrey, who is actually from Kitchener Ontario.* “Motley Crue were the problem,” he told me. “They were messed up on drugs.” They were also unfocused musically.
On January 27 1997, the reunited original Motley Crue performed on the American Music Awards. Mere months after being teased by a similar Van Halen reunion on the MTV Awards, I was relieved that Motley were playing a song rather than just standing there. But what the hell song was it?! Some strange, techno-y version of “Shout at the Devil”? It was strange, unexpected and underwhelming. Hey, cool, it was a fresh spin on an old classic. But…why?
We soon found out. The album Generation Swine came out on June 24 1997. As usual, T-Rev and I got it a few days in advance. “It sucks!” he warned me. Of the first single “Afraid”, he said “It sounds more like Def Leppard than Motley Crue.”
“Afraid” is the best song on the album, which does frankly suck. In a single stroke Motley went from one of their best albums, to one of their very worst. It was astounding how desperate they sounded, trying to incorporate these influences that have nothing to do with Motley Crue. The loops and samples and effects ruined many of the songs, but some just weren’t that good to begin with. This considered, it was an even bigger surprise that Nikki Sixx and Tommy Lee were singing lead vocals too. Sixx’s silly opener “Find Myself” was a nauseating faux-punk novelty song. Generation Swine was also unfocused in the extreme, and the muddying effects didn’t help. The electronic treatments on the drums rendered them limp, compared to the massive sound of 94’s Motley Crue. Absolutely everything on Generation Swine was inferior to Motley Crue.
Three CD singles were released for “Afraid”, which was remixed so many times trying to get it right, that they used some of the various versions as bonus tracks. The album version is fine enough, and in this one instance, the electronics enhance the song. I’d rather hear “Afraid” with the effects than without.
What did other fans think? When Generation Swine was new, one of my customers wanted to hear it before buying. “I saw that Vince Neil is back. Have you heard it?” he asked me, and I told him the truth. He was sceptical of my review, but changed his mind upon hearing it. “It doesn’t sound like them,” he said, and he’s right. I then cajoled him into listening to the 1994 album. He didn’t want to, because it didn’t have Vince Neil, but agreed to give it a shot.
Guess which album he bought? Motley ’94.
At least there’s some redemption, if only temporarily. During the Christmas season of 1998, T-Rev once again called me up to tell me about Motley Crue. There was a new compilation out, called Greate$t Hit$ [review coming tomorrow]. This time, there were two new songs: “Enslaved” and “Bitter Pill”. Both were produced by Bob Rock.
“The new songs aren’t bad,” said T-Rev. “A lot better than Generation Swine. Not as good as ‘Primal Scream'”
Right again, T-Rev. Not bad. An improvement, but not as good as what they did the first time out. That was enough for me to buy the CD. Not for Trevor, though.
I think Motley Crue were on the right track with “Enslaved” and “Bitter Pill” after the failure of Generation Swine. They obviously knew that album didn’t work, so they went back to the last thing that did. Both songs are growers, and still raise a smile to hear. Unfortunately Motley Crue blew it again. Tommy Lee and Vince Neil had a dust-up at an airport, and Lee split. He was replaced by former Ozzy Osbourne drummer, Randy Castillo.**
Fans like T-Rev and myself always supported the 1994 album, and today we’ve been justified. More and more fans have realised the quality of that CD, and increasingly hold it in high esteem. There’s something about that CD, and I’m afraid that Motley Crue never came close to touching it since.
Tommy Lee, John Corabi, Nikki Sixx & Mick Mars
* Fun fact! T-Rev’s mom dated Scott Humphrey!
** In a very sad turn of events, Castillo never got to tour with Motley Crue. He became ill and died of cancer on March 26, 2002 at age 51. His replacement, Hole’s Samantha Maloney, did the tour and resultant live video.
A mighty Union was formed from the ashes of two classic bands’ lesser-known lineups. First up is Bruce Kulick, formerly of Kiss and now in Grand Funk. Kulick had been taking an increasingly important role within Kiss, leading to the Carnival of Souls LP which Bruce was instrumental in writing and recording. With him was John Corabi who had just been booted from Motley Crue after making (arguably) their best album (or one of). Corabi was in a bit of a state. His confidence in himself was shaken after the Motley experience, who seemed impossible to please when their album tanked. John told Bruce that he didn’t want to sing anymore, he just wanted to play guitar. Bruce’s response was “Dude, you’re fuckin’ high!”
And so it was that Bruce and John teamed up (with Brent Fitz and Jamie Hunting) in the aptly named Union.
You wouldn’t call Union a supergroup, but they did create a fine album. It is in the mold of the last albums these guys made separately (Motley ’94 and Carnival). Union turned out as an angry, dark rock record, very much a child of the 1990’s. With Kulick on guitar, Union was more than a 90’s alt-grunge retread. The 90’s are omnipresent in the droning riffs and staggered rhythms, but then Bruce dumped out his tackle box of guitar tricks. Bruce evolved over the years from a guy who played really fast on 80’s Kiss albums to a serious player interested in pushing his own limits. Where he used to be content to play flurries of notes, on Union he goes for maximum gut impact. It’s less about playing the notes than bending them to his will.
It’s also quite clear how much writing Bruce and John did in their respective bands, judging by the sound of this. “Around Again” bears groovy similarities to tracks like “Jungle” by Kiss and “Uncle Jack” by Motley. There’s a pissed-off attitude, and musicianship that would make Nikki Sixx crap his pants. Thankfully Union have a good batch of songs backing them. Much like the previous Kiss and Crue records, Union is not instant love. It takes about three good listens to penetrate its metal-grunge (with a touch of Beatles) hybrid sound. Union usually seem to go for the guts rather than singalong melodies.
One of the exceptions to this rule is the pure fun “Love (I Don’t Need it Anymore)”. This is the one that hooks you on the first round. With a funky little riff and a chorus that sinks right in, it slays. The ballad “October Morning Wind” is another catchy track, an acoustic number a-la Zeppelin. Think of a track like “Loveshine” from the Motley album for the right ballpark. Stealing a Zeppelin title, Union’s song “Tangerine” is a groove rock tune like a heavier Aerosmith.
On the other side of the spectrum: psychedelic rock. “Let It Flow” is a trippy song broken up into sections called “The Invitation”, “The Journey” and “The Celebration”. I think John was smoking something green when he wrote the lyrics, but Bruce’s sitar-like guitar is the perfect complement. “Empty Soul” has similar scope, being a pretty huge song with musical goodness coming out the wazoo.
Adding the Beatles cover “Oh Darlin'” to a reissued version of the album is a little greedy, but fortunately worth it. As it turned out this band only made two studio albums, so more Union is good Union. If you recall the original song, Paul McCartney gave it his best rasp screams. Up to bat is John Corabi who can sing that way in his sleep. It’s a perfect match and “Oh Darlin'” is a nice little extra on which to end an exceptional album. The only issue I have with “Oh Darlin” is actually its placement as the last song. Previously, the solo-written Corabi acoustic ballad “Robin’s Song” was the closer, much like “Driftaway” was on the Motley album. You become accustomed to “Robin’s Song” as a closer, because it has that quality to it. “Oh Darlin'” is not a closer. It would have worked better earlier in the track list, so feel free to shuffle as you choose.
Whatever version you acquire, any fan of Kulick and/or Corabi would be foolhardy to live without this CD. It ranks as one of the best albums by either.
MOTLEY CRUE – Quaternary (1994 Elektra Japanese EP)
For me, undoubtedly the most heavily anticipated new album of 1994 was the new Motley Crue. Originally titled ‘Til Death Do Us Part, the self-titled ’94 Crue disc was their first with new singer/guitarist John Corabi. They holed up with producer Bob Rock and knuckled down, creating what could have been the most important album of their careers. The long wait (five years between studio albums) and cryptic remarks from the studio indicated that this would be the heaviest Motley album ever, and their most ambitious. The new, serious Motley for the 90’s had, as always, written plenty of extra material too.
In addition, producer Bob Rock had an idea for getting creative juices flowing. He asked each of the four members of Motley Crue to write and record a solo track with no input from the other members. This was slightly historic: the first time Nikki Sixx, Mick Mars, Tommy Lee or John Corabi had done anything solo. With all the numerous outtakes recorded for the Motley Crue LP, there was now plenty of extra material to put out as a bonus EP.
A mail-away coupon inside the Motley Crue CD alerted fans that five more tracks were available by mail order only. 20,000 copies of the original EP were pressed. They included all four solo tracks and a new Motley Crue song called “Babykills”, featuring fifth Beatle Billy Preston on clavinet!
Still, the lucky fans in Japan didn’t have to mail away for anything. They were able to buy Quaternary right on their store shelves, and because it’s Japan, they also got bonus tracks. The Japanese version of Quaternary was not a five song EP, but more like a nine-song mini-album. I had no idea such a thing existed until finding one at Sam the Record Man in Toronto in the summer of 1996. It still has the price tag: I paid $49.99, for a total of three songs that I did not have before.
Today, every one of these songs can be found on the box set Music to Crash Your Car To: Volume II, along with even more bonus mixes.
Quaternary commences with industrial noises and studio dialogue:
Tommy Lee: “I can’t play with fuckin’ clothes on man, this is bullshit.” Bob Rock: “Play naked.” Tommy Lee: “Fuckin’ jeans on, a fuckin’ shirt…what up with that?” Bob Rock: “What, do you work in a bank?”
The industro-rap metal of Tommy Lee’s “Planet Boom” is a track he had been working on for years. An early version made its debut in the background on the 1992 home video release Decade of Decadence. Even though the words “industro-rap” and “Tommy Lee” don’t really sound good together, “Planet Boom” kicks ass. Tommy played all the instruments, utilising a simple, detuned Sabbathy riff and a relentless drum loop. The strength of his vocal came as a surprise, as did the song in general. A few years later it was remixed for Pamela Anderson’s movie Barb Wire. (Stick with this original.)
After a brief studio discussion with Mick Mars about hemorrhoids (?), his blues instrumental “Bittersuite” blows your ears off. Motley fans know that Mick Mars is the most musically talented member, considered an underrated and under appreciated rock god. The blues-rock of “Bittersuite” isn’t as satisfying as I imagine a pure blues offering to be, but there is no doubting Mick’s talent here. Both as a writer and a player, Mick hit it out of the park (Chris Taylor played drums). Mick’s goal was to pay tribute to rock-blues greats like Beck, Hendrix and Blackmore. Mission accomplished. His guitar tone is beautiful and so are his emotive licks.
Nikki Sixx goes third, with another industrial-metal cross. “Father” is one angry fucked up track. It’s heavy and direct, on-trend for 1994, and very abrasive. The riff and song are simple, but Nikki’s anger leaks through. “Father — where were you?” Backwards guitars, electronics and loops on top — you can tell Nikki and Tommy were listening to the same kinds of music at the time!
New kid John Corabi goes last, and in the liner notes he says that “Friends” is his first piano song. He meant to go acoustic, but “Friends” just came out of him. It’s a pretty Queen-like ballad with lovely harmonies in the middle. Although Mick Mars’ song is probably a greater technical achievement, “Friends” is my favourite of the solo tracks. When a guy like Corabi gets going on a ballad, it’s usually going to be amazing anyway. Throw in the Queen elements, and I’m just a sucker for it! It’s really a shame that Motley did not continue with John beyond this. The potential for greatness was always there.
After more studio chatter, we break into “Babykills”, the Billy Preston collaboration. “Babykills” is fun and funky hard rock, probably the heaviest thing Preston ever played on. Unfortunately his part is little more than an added topping. Great tune though; probably far too good to lie hidden away on an obscure mail-order EP.
An impromptu jam that seems to be called “I Just Wanna Fuck You (In the Ass)” ends the original EP on a jokey note. “What the fuck do you want, for fuck all?”
As mentioned, the Japanese had bonus tracks. These are tracks that did not make the finished Motley Crue album, since they had recorded so much extra material. “10,000 Miles Away” is a cool blues ballad, showing off more of Mick’s fine fingerwork. It was obviously too much of a standard sounding song to fit in with the experimental Motley Crue album. Not that the album stood a chance in hell after grunge cleared the decks, but you do wonder if it would have been better received if some of these more digestible songs were included on it.
The one track on the Japanese release that is easy to skip is the Skinny Puppy remix of “Hooligan’s Holiday”. This track was already available on the “Hooligan’s Holiday” single and it’s since been re-released in other places too. It’s long — over 11 minutes. Dave “Rave” Ogilvie remixed it with Dwayne Goettel and cEvin Key, so it is of possible interest to Skinny Puppy collectors. The thing that bugs me about it is that it strikes me as lazy. The song is pretty much the same as always for the first three minutes, and then the remixing begins. The whacked out and frankly boring remixed part goes on for almost seven more minutes, before transitioning back to the standard song. In other words, what Skinny Puppy did here was edit out the middle section and guitar solo of the song, drop in seven minutes of remixed barf, and then put the ending back on.
Two demos round out the CD: “Hammered” (which did make the album) and “Livin’ in the No” (which did not). The “Hammered” demo is structurally the same as the album version, no radical departures. It sounds like much of it is live in the studio, and it’s clear that Motley were focusing on grooves. It’s all about the four guys being locked in. Finally “Livin’ in the No” is in the standard hard rock mold. Again, a track like this fits in less well with the unorthodox LP, but might have made it more accessible for fans. Even so, a guy like Vince Neil would never have been able to sing “Livin’ in the No” and make it sound good.
There is little question that the Motley Crue album deserves its 5/5 star rating. This being a collection of outtakes, the same cannot be expected. Still, it does deserve a very respectable:
Get the complete EP including all Japanese bonus tracks on Music to Crash Your Car To: Volume II. That set also contains more remixes originally from single B-sides of the era: “Misunderstood” (Guitar Solo/Scream Version), “Hooligan’s Holiday” (Derelict Version), “Misunderstood” (Successful Format Version), “Hooligan’s Holiday” (Brown Nose Edit).
There is so much more to Kiss than just the original members. Sure, you may think Ace Frehley rules, and that his solo albums are awesome. You’d be right — I’ve reviewed every single Ace Frehley album. But let’s not forget about Bruce Kulick, who humbly held down the fort from 1984-1996. Today, Kulick’s rocking the house with Grand Funk, and doing a fine job of it. But just as there is more to Kiss than just the original members, there is more to Bruce than just Kiss or Grand Funk. Bruce has always treated Kiss with respect, and his solo music shows the same care and love put into it. BK3 is my favourite of his solo albums, including Audio Dog and Transformer.
Surely one of the draws to this Kulick record has to be the big name guest appearances. The best of these is the late Doug Fieger (The Knack) on “Dirty Girl”, an incredibly catchy radio rocker. So good is it, Classic Rock magazine listed it as the 29th best tune of 2010. Hey, that’s a proud moment! If I didn’t know it was Fieger singing, I wouldn’t have guessed. I figured it was some young unknown with a great voice. As great as this song is, and how hit-worthy it could have been, I don’t think it would have suited Kiss. It’s too pop for Kiss, I think, but it’s not sell-out in any way, because Kulick makes sure the guitars are sweet, crunchy and loud. Other guest shots include Steve Lukather, dueling with Bruce on the only instrumental “Between the Lines”. Tobias Sammet shows up to sing the grinding “I’m an Animal”, and on drums is Kiss drummer Eric Singer. As if that’s not enough, there are not one but two Simmons on this album. The old man sings “Ain’t Gonna Die”, a heavy Kiss-like armor plated beast. Then the Son of Simmons, young Nicholas, sings on the even better “Hand of the King”. Almost a dead ringer for his old man, Nick lends the song a demon-like aura.
There is one more cool guest shot that needs to be highlighted. There are 3/4 of Bruce’s old late-90’s band Union, on a great tune called “No Friend of Mine”. John Corabi lends his unmistable gravel to this melancholy rocker. With shades of acoustics and ripping lead vocals, this as good as anything in the original Union catalogue. I still think their debut album was incredible. Canuck Brent Fitz is on drums, also from the Union days but probably on a break from Slash. Only bassist Jamie Hunting is missing, but it’s safe to say that this song could easily fall under the Union umbrella. Kulick’s shredding on this one is insane, used sparingly but effectively.
BK3 is also diverse. Bruce sings the rest of the material, but the most interesting is the closing ballad “Life”. It sounds like a King’s X track circa Faith Hope Love, augmented with violins and the flute! This is truly is an outstanding ballad. Bruce would be the first one to say “I’m not a singer”, so it takes courage to do the lead vocal on a track like this. Bruce’s voice has his personality in it: it sounds like the Bruce Kulick we know and love. It’s a very human sound, and he does a great job. His voice is similar to Steve Vai’s, another artist who is not afraid to sing lead.
If you appreciate great rock music, meticulously and lovingly assembled, then give BK3 a shot. There are so many great songs on here. If you’re a fan of Kiss, The Knack, Motley Crue, or any of the other guests, then this purchase is somewhat of a no-brainer!