Motley Crue

#656: The One They Call Dr. Feelgood

GETTING MORE TALE #656: The One They Call Dr. Feelgood

Hard rock peaked in the summer of 1989 with Dr. Feelgood. The charts were already filled with hard rock acts. Warrant were picking up steam. White Lion and Winger were getting airplay. Bon Jovi and Def Leppard were still raking it in with their last albums, New Jersey and Hysteria. Aerosmith were back. All we needed was the return of Motley Crue.

The Crue were not exactly laying low, but they did have problems to resolve. Nikki Sixx “died” of a heroin overdose on December 23 1987, but was revived with a shot of adrenaline right to the heart. Then he had to deal with a lawsuit from an imposter named Matthew Trippe, who claimed he took over the role of “Nikki Sixx” in 1983 and was owed royalties. Both these incidents inspired new songs. “Kickstart My Heart” was about by the overdose and subsequent recovery. “Say Yeah” took a shot at Matthew Trippe and that whole strange situation.

Fearing the band would end up dead if he did nothing, manager Doc McGhee sent the band into rehab (except for Mick Mars who quit drinking on his own accord). Then, a clean Motley Crue headed up to Little Mountain Sound in Vancouver to work with Bob Rock for the first time.

Bob Rock was on a roll. He finished up the soon-to-be-mega-successful Sonic Temple for The Cult and was recognized for the sound he was able to capture, particularly on the drums. He was also excellent at playing babysitter with musicians who were notoriously hard to work with. To minimize infighting, Rock split Motley up and had them all record separately. And because Aerosmith were in town recording Pump, Steven Tyler dropped by. He offered support for the newly clean band, and vocals on a new track called “Slice of Your Pie”.

The Crue’s first gig clean and sober was the Moscow Music Peace Festival in August of 1989. Although they had finished a new album, they played no new songs, saving them for proper release and promotion. Instead they played oldies from Girls, Girls, Girls, Theater of Pain, Shout at the Devil and Too Fast For Love. It was anything but peaceful. The gig, organized by McGhee, had been pitched to the bands involved as an equal opportunity. Bon Jovi, who McGhee also managed, were arguably the best known in Russia, as they were the only one with an official release there. They were booked to play last, but McGhee stressed there was no “headliner”. There was already friction between bands, because Ozzy Osbourne felt he should have been the headliner. Black Sabbath were massively popular with Russian rock fans, although they had to scour bootleg markets to find any.

Vince Neil live at the Moscow Music Peace Festival 08/12/1989 – Robert D. Tonsing/AP

Things came to a head when Bon Jovi featured pyro in their set, which none of the other bands had. Motley Crue interpreted this as favouritism towards Bon Jovi. Tommy Lee responded by ripping the shirt off Doc McGhee’s back. Motley Crue fired him and headed home on their own.

This drama did nothing to defuse Motley Crue’s momentum. Their new album Dr. Feelgood was released on September 1 1989, eventually going #1 and spawning five hit singles.

Meanwhile back in Canada, I was following all the Motley news with great anticipation. A Hit Parader magazine interview implied that Dr. Feelgood was so ambitious, it might even turn into a concept album. In fact the band had so many new songs that a second album, called Motley Crue: The Ballads was considered for 1990 release. The concept at that point was to do a new Motley Crue studio album that was all-heavy, no ballads. The softer songs would be saved for the second LP. Ultimately they got cold feet and realised putting out an album with no ballads in 1989 was commercially stupid, and so Dr. Feelgood was released with a mixture of tracks – the best 10 songs and one intro.

“Dr. Feelgood” was the first single, and it dominated airwaves just as summer holidays were ending. It, and “Love in an Elevator” by Aerosmith were absolutely everywhere. “Feelgood” had the edge with me, due to its massive drum sound and serious vibe. Bob Rock captured what might have been the biggest drum sound since Zeppelin, or Creatures of the Night by Kiss. Either way, Motley and Aerosmith really put Little Mountain Sound on the map as the studio to beat.

I tried to catch “Feelgood” on the radio and record it, but failed. Instead I bought the cassette single at the local Zellers store. Considering how many tracks the band worked up for Feelgood, I hoped they would be releasing non-album B-sides. They did not. Instead, “Feelgood” was backed by “Sticky Sweet”, probably the weakest album track.

I wondered what happened to all those unreleased songs that Hit Parader mentioned. “Say Yeah” was not on the album or singles. Neither were “Get It For Free” or “Rodeo”.  (We’d have to wait another 10 years for them to be issued on the “Crucial Crue” remastered series.)  A CD could hold almost 80 minutes of music, but Dr. Feelgood was the standard 45 minutes long. Since CDs were so expensive at the time, some fans argued “You have room, so put all the tracks on there and give us the value for our money.” Of course, this attitude changed later on, when listeners realised that albums with lots of extra filler were not as much fun to listen to. And, sadly, the unreleased Motley songs were pretty much filler. The stuff that went on Dr. Feelgood was as good as they had.

Dr. Feelgood was one of the first CDs I ever got, on Christmas Day 1989, along with my first CD player. The sonics of the album were everything they were hyped to be, but what really impressed me were the silences of compact disc. I was used to tape hiss. As “Time For Change” slowly faded out to nothing, I cranked the volume to 10. It was amazing to hear the fadeout clearly, without the tape hiss that had become part and parcel of music listening.

The album earned some great reviews for its sound, songs and even some of the lyrics. “Time For Change” revealed a new more mature direction. “Kickstart My Heart” took a serious subject and made it inspiring without wimping out. “When I get high, I get high on speed, top fuel funnycar’s a drug for me.” Some called it Motley’s best album, and still hold it as such.

As the album rocketed up the charts, Motley embarked on an 11 month tour. Most of the new album received live attention, with five songs being part of the regular set. One person who was paying attention to this was Metallica drummer Lars Ulrich. Lars fell hard for the Motley drum sound, and sought out Bob Rock to produce their next album too. The rest is history. Like Motley before them, Bob Rock helped push Metallica into the upper echelons.

On Monday June 18 1990, Motley Crue headlined at the SkyDome in Toronto. The following day, June 19, the highschool halls were flooded with Motley Crue T-shirts. Where were all these “fans” last year when I seemed to be about one of two people in school who liked Motley Crue? It was always so bizarre to see concert shirts on people who never expressed interest in the band.  All those girls who always seemed to say, “I hate Montley Crue”!

What goes up, must come down. Motley relapsed after partying too hard with the Skid Row guys. Infighting ramped up. As the band were set and poised to top Dr. Feelgood with something truly special, they fired Vince Neil. It was as if they were handed the keys to the kingdom, to promptly throw them off the mountain. Although their 1994 album with John Corabi is a monster (and possibly their all-time best), as a commercial entity, Dr. Feelgood was never surpassed.  It eventually sold over six million copies.

We’ll have to see how Motley portray it in their movie The Dirt, but the truth is that Dr. Feelgood was a one-off mega-success story they’d never repeat.

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REVIEW: John Corabi – One Night in Nashville (2018)

JOHN CORABI – One Night in Nashville (2018 RatPak)

John Corabi needs no introduction in these pages.  We have ranted and raved about the awesome 1994 Motley Crue album and the complimentary Quaternary EP.  We’ve broken down the details of his departure from Motley Crue and the chaos that followed.  We’ve also gone on record loving the Union project with Bruce Kulick.  In short, John Corabi can’t really do much wrong in our books.

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.

5/5 stars

#620: The Retired Jedi Master (of Rock)

I call this picture “Flying Elbow Drop and a Schnauzer”

GETTING MORE TALE #620: The Retired Jedi Master (of Rock)

It is always sad when one of my old Jedi Masters of Rock loses their passion for it.

I think for Bob, that began when he entered college. While Bob taught me the ins and outs of Iron Maiden, Ozzy Osbourne, Dio, and Motley Crue, he was drifting away from heavy metal. There is nothing wrong with diversifying, but his passion for the heavier side of things was waning.

I remember in the summer of ’91 when Motley Crue released their awesome new groove-laden single, “Primal Scream”. I asked Bob if he liked it, and his response was that the new Motley was “too heavy”. My heart broke in two pieces that day. I was so excited about that track. Motley were doing exactly what I wanted them to do: turning it up and giving no fucks. Bob just wasn’t into that.

His tastes were changing. I think a big part of it was that the girls he liked at college weren’t into heavy metal. Bob was checking out more commercial sounds and ballads. One of his favourite groups was Frozen Ghost.  I also remember he was very much into Bad Company’s Holy Water. Meanwhile I was digging into the roots of metal and the bands of the future as well: from Deep Purple to I Mother Earth.  Our paths diverged.  I couldn’t be less interested in new Bad Company, but I was intent on collecting the entire Black Sabbath back catalogue.  It made me a little sad, but I’m not regretful about where my explorations took me over the years.

I think it can be summed up as below:

1. The girls we liked didn’t listen to metal.
2. Bob’s tastes diversified while he outgrew metal.
3. I doubled down on metal, going all in. The girls might not like metal, but maybe they’d appreciate my don’t-give-a-fuck attitude?

Bob’s method got him dates. My method did not! But my musical journey took me far and wide.  From the deep neon coloured oceans of Frank Zappa, to the craggy peaks of Mount Marillion, and back to the Valley of Judas Priest. As real life took over – job, wife, kids – Bob was no longer the music head that I was. He has always been a hard worker, and a family guy. My passion only grew deeper. The longer, heavier and more complex the tunes, the more interested I was in the band. I loved musicianship. Ballads were starting to sound the same to me, and there were some cool new sounds coming out of the woodwork.

Life took Bob and I in different directions. He met a lovely lady named Trish and now has four kids. I have none.  If I had four kids, would I still have time to invest in my passion, music? Bob’s kids keep him very busy, believe me!

Bob sold off his collection many years ago. He had some amazing Iron Maiden 12” singles and picture discs. I bought a few of his singles, but there was one tie-dyed bootleg picture disc EP that I would have loved to get my hands on. I couldn’t tell you anything about it today, except that it was Iron Maiden. He had to do what he had to do. It’s gone now and he has little recollection at all about it.  That information is sadly lost to me now.

Not every Jedi Master of Rock stays in the trenches forever. Some do, and end up writing about it on the internet. Bob may have retired his rock and roll shoes, but his influence lives on right here in these pages.  Thank you for your wisdom and friendship.

 

#616: None of My Exes Live in Texas (But One Lives in Thunder Bay)

GETTING MORE TALE #616:
None of My Exes Live in Texas (But One Lives in Thunder Bay)

“You’re going to meet a lot of girls here.”  The Boss, at The Record Store, summer 1994.

Here’s the sad fact of the matter.  Even though it was promised to me like some kind of perk, I didn’t meet any girls at the Record Store.*  That perk was as non-existent as 15 minute breaks.

Here’s another sad fact.  I was absolutely pathetic at talking to girls.  It’s too embarrassing to think about, but if I ever do psychiatric regression to recall all those painful memories, you could write a pretty hilarious comedy movie about my exploits back then.  The working title would be The 20 Year Old Virgin.  It would be something along the lines of Swingers but with a nerd as the lead character.  A heavy metal sci-fi geek.

I just needed the times to catch up to me.  When the internet became popular, the nerds became the kings.  I was always better at talking when I have a chance to write and think about words.  Email was perfect.  Otherwise I used to get flustered and just flat-out say stupid things, usually trying to be funny.  I began online dating in 2000.  Trevor was always willing and able to help me out with advice, but regardless, the first couple years of online dating were epically awful.  I can distinctly remember a Christmas card that Trevor gave me.  It had a timeline illustrating the 13 “Crazy Exes” I’d accumulated so far.

“Hey, that one wasn’t crazy,” I protested as I pointed to one near the middle.

I can’t remember all the names.  The detail I remember most is what city they lived in.

First was Waterloo, then came Hamilton #1.  She was nice, Hamilton #1.  She was originally from Prince Edward Island, and her cousin was Paul MacAusland of the rock band Haywire.  I saw Haywire open for Helix in 1987.  My first date with Hamilton #1 was actually record shopping.  I bought two Devin Townsend Japanese imports.  She got Paul McCartney’s double Tripping the Live Fantastic.  She wasn’t the problem though, Hamilton was.  I got severely lost on my way home and had (what I now know was) a panic attack.

Hamilton #2 came a bit later that year.  She was better with directions, at least, so I didn’t get lost.  She was into music too, but not anything particularly good.  She liked…Britney.  I’ll admit my interest in her was more physical than otherwise, but we did have an incredible first date.  I remember telling Trevor that it was the best first date I’d ever had.  The third one, not so much.  She took me to her AA meeting.  Obviously, that was no place for a date and I should have dropped her off and gone home.

Toronto was a repeat of the situation of Hamilton #1; panic attacks getting lost.  That one was a Sloan fan, but she really turned me off when I saw that none of the discs were in their proper cases.  Sloan At the Palais Royale had something else in it.  The discs were scattered!  But she was also a stage-5 clinger and the night I called her to say it wasn’t working out, she didn’t want to let it go.  I turned my cell phone off because it was constantly ringing and I was going nuts.  I went mini-golfing with some friends from the Record Store to clear my head.  When I turned it back on, a friend prank called me pretending to be the ex!  That eased the mood of the evening.

I really liked Kingston, and fortunately we’re friends.  She was a musician and I even have a copy of her CD that I’ll review one day.  My heart was heavy when she moved to Thunder Bay for school.  I could do long distance but not that long.  That wasn’t the end of the city of Thunder Bay though.  The city taketh away, but the city also returneth:  Thunder Bay Girl herself, subject of Record Store Tales Part 264:  Garbage Removal Machine.  She moved here from T-Bay and was into the metal.  Motley Crue was her favourite.  We’d hang out and watch music videos all night.  I gave her a giant box of my old cassette tapes.  But if Toronto was a stage-5 clinger, Thunder Bay was stage-6.  I had to get out, and she justifiably hated me for it.  But she hated me even more for bailing on her when she had to deliver a ferret to somebody.  Attempting to be friends, I offered to drive her some place to drop off this ferret.  I had to cancel because, as always, the Record Store was insane and I had to work.  Having a life was very difficult at the Record Store and the ferret thing was not my fault.  She didn’t care, and it was all she needed to hate me forever.  She went home to Thunder Bay a little later; that’s why I like to say all my tapes are in a Thunder Bay landfill today.

I’m not innocent through all this of course; I’m sure some of these exes have their own stories.  I’ll never claim to be blameless.  I just like to tell my tales, because at the end of the day, you just gotta laugh.  That’s how you ultimately get over shit.  Laughter, and music.

Fortunately the last online lady I ever met was Brampton.  Her real name is Jennifer, but today she just likes to be called Mrs. LeBrain.

*Confession time!  There was one girl that worked at the Cambridge location that I liked, so I invited her out to dinner and then over for a movie.  I was living with T-Rev at the time, who worked with her in Cambridge.  Well I was so bored on our “date” (IT WAS NOT A DATE, TREVOR! IT WAS A HANG-OUT!) that I went to bed early and she hung out with Trev for the rest of the night!  “Very awkward!” according to Trevor.

Motley Crue – Greate$t Hit$ (1998, 2009 versions)

MOTLEY CRUE – Greate$t Hit$ (1998 Motley/BMG), Greate$t Hit$ (2009 Motley/Masters)

Most fans will agree that Motley Crue’s 1997 reunion album Generation Swine was, at best, disappointing.  The Crue tried to right the ship by returning to producer Bob Rock.  Together they came up with two new songs, “Bitter Pill” and “Enslaved” that recalled better days.  We discussed the wherefores and origins of 1998’s Greate$t Hit$ album in Getting More Tale #611:  Afraid, on which the two new songs were released.  As you’ll read here, the 1998 issue of  Greate$t Hit$ is better than its 2009 update.

Both “Bitter Pill” and “Enslaved” bring Motley’s sonics back to their previous setpoint with Vince Neil, Decade of Decadence.  The combo of Motley plus Bob Rock produces the kind of results you expect:  punchy, heavy rock tunes with hooks.  Neither is as memorable as “Primal Scream”, but serve their function.  If this lineup had stayed together perhaps they could have taken it further, to the next stage of evolution.  Tensions between Vince and Tommy Lee eventually erupted.  Tommy left the band to pursue his own sanity and a side project called Methods of Mayhem.

The ’98 Greate$t Hit$ also offered up one other cool bonus:  a previously unreleased remix of “Glitter”.  It’s softer and more electronically processed, but a very cool alternate version.  Dropped into this running order, Greate$t Hit$ turns out to be a remarkably fun and consistent listen.  It would be a highly recommended way to get a broad assortment of great Motley and some rarities too.

Then, as part of the promotional cycle for a later, better reunion album (2008’s Saints of Los Angeles), Greate$t Hit$ was updated and reissued.  Including its previous incarnation, the 2009 Greate$t Hit$ became the fifth Motley Crue best-of compilation (not counting box sets and rarities compilations).

So what’s the difference?

13 tracks overlap between the two: “Too Fast For Love”, “Looks That Kill”, “Smokin’ In The Boys Room”, “Home Sweet Home”, “Wild Side”, “Girls, Girls, Girls”, “Dr. Feelgood”, “Kickstart My Heart”, “Don’t Go Away Mad (Just Go Away)”, “Without You”, “Primal Scream”, and “Afraid”. The 13th track is “Shout At The Devil”.  In 2009 they used the original version, where on the old CD it was “Shout At The Devil ’97” (a re-recording from Generation Swine).

Three tracks were previously released as “new” songs on other greatest hits CDs: “Primal Scream” (Decade of Decadence), “Sick Love Song” and “If I Die Tomorrow” (Red, White & Crue).

Two tracks were from the newest Motley platter, Saints Of Los Angeles: The title track, and a brand-new remix of “The Animal In Me” featuring more keyboards.

Zero tracks from the albums Motley Crue or New Tattoo are included (neither album had all four original members).

There are 19 songs total included, which is a beef-up from the 1998 version, which had 17 songs.  “Bitter Pill” and “Enslaved” were excluded, but both are available on Red, White & Crue (2005). The remix of “Glitter” from the 1998 version is not and is now deleted.

The songs on the update, unlike the 1998 version, are mostly in chronological order. The exception is “Afraid” which is shuffled out of place with “Sick Love Song” for reasons unknown. The flow of the album is OK, with the kickass “Too Fast For Love” starting the proceedings. The mixture of rockers to ballads is engineered for high octane, and the ballads only kick in when needed. The album only runs out of gas towards the end:  “Sick Love Song” isn’t very good didn’t require a second look here.  “Bitter Pill” should have been kept instead.  The final track “The Animal In Me” is just too slow for a closing song. “Saints Of Los Angeles” would have been more appropriate to close this set.

Even though the 2009 update has 19 songs compared to 17, the ’98 version wins due to the inclusion of “Bitter Pill” and “Enslaved”. It’s more enjoyable listen from start to finish, with better flow and song order.  The ’09 Greate$t Hit$ smacks of an obvious cash grab. Check out the liner notes. They haven’t even been updated. The essays are 10 years out of date, the notes refer to the “two new songs” (which aren’t there), and the back cover artwork still reflects “Bitter Pill”. Essentially, the only changes to the packaging are the colours with a new slipcase added, displaying a newer band photo from the Saints sessions.

Greate$t Hit$ 1998:  4/5 stars

Greate$t Hit$ 2009:  2/5 stars

 

#611: Afraid

GETTING MORE TALE #611: Afraid

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.

#607: Every Picture Tells a Story

GETTING MORE TALE #607: Every Picture Tells a Story

 

If you’re like me, you probably look at childhood photos and are immediately flooded with a million memories. Music, pictures and memories…they all go together don’t they? One triggers another and all three merge together in your grey matter. With that in mind, put on something nostalgic and join me with some short stories about some old pictures. If you can’t think of something to listen to, here’s Bryan Adams doing “Summer of ’69”!


I can tell by my hair that this picture is winter of 1989-1990. On the far left, you’ll notice my Darth Vader lamp, hand made by my mom a long time ago (though not very far away). Darth is priceless to me, and I still have him on that very same dresser today. Next to Darth, I notice that I didn’t think to remove the Speed Stick before taking a photo.

That was my first guitar. I just had to have a whammy bar. That thing would simply not stay in tune. In the 80s, you had to have a whammy bar, although Slash was slowly causing them to go out of fashion. My mom found a guitar teacher, a really nice guy named Gary Mertz. He was teaching my sister, myself and my best friend Bob all in one shot. He came to the house, and did 30 minute lesson with my sister on keyboards first. Then 30 minutes with me and 30 with Bob on guitar. I just wasn’t any good at it. I just don’t have the coordination. How my sister got to be such a great musician, I really couldn’t tell you. I got the shitty genes.

A year and a half later, and look at that hair. Sleek?

Second guitar. A flying V I bought off a guy from work.  He was a huge Eddie Van Halen fan, and he customised the V with different pickups to try to emulate Eddie’s brown sound.  I still had to have a whammy bar.  Constantly diving for it made it sound like I was playing something other than random notes.  I was pretty useless on guitar.

A little older now, this is about 1993 and that’s my first beard! Zeppelin and the USS Enterprise (NCC-1701 D) on the same walls as before.  The Enterprise and the Kiss sketch I’m holding were both birthday gifts from my buddy Peter. I still have that Kiss sketch on my wall right behind where I work at LeBrain HQ.

Check out this model kit I build. That’s a Klingon Bird of Prey, a Romulan Warbird and a Ferengi ship. I bought it for the Warbird, truly a beautiful ship design. If you look close enough, you can see where I painted in little yellow windows on the forward section, just like the show. I did the same on the Ferengi craft, which actually turned out the best of the three.

And finally, I don’t know what compelled me to take pictures of all my stuff. Here it is, and all laid out specifically just so. Why? Couldn’t tell you. But there’s some cool stuff there!

With the exception of the cassette tapes, I still own most of this stuff.  Some CDs have been replaced by expanded editions.  The vinyl didn’t go anywhere though, and I definitely hung on to those Star Trek figures.

My collections for each of these bands has expanded so much that I couldn’t fit them all into a single photo anymore.  It’s funny to look back and think, “Wow, that’s all I had!?”

REVIEW: Make A Difference Foundation – Stairway to Heaven/Highway to Hell (1989)

Make A Difference Foundation – Stairway to Heaven/Highway to Hell (1989 Polygram)

In 1989, I proudly sported my Moscow Music Peace Festival T-shirt in the highschool halls.  It was cool to see the rock bands on the forefront of heavy metal bringing music to the Soviet Union.  Scorpions, Bon Jovi, Motley Crue, Cinderella, Ozzy Osbourne and Skid Row joined Russian metal band Gorky Park in the name of peace and being drug free.

Drug free?  Ozzy?  It’s true that this was a little strange, but Motley were at least clean for the first time in their lives.  The Scorpions had played behind the Iron Curtain before, and Sabbath were huge in Russia.  Meanwhile Bon Jovi were one of the few bands to legally release an album in the USSR, and in return they brought Gorky Park to the US.  I was lucky enough to have a girlfriend who recorded the televised part of the concert off MTV and sent me a copy.  It was a pretty mindblowing video.  Those Russians were going absolutely nuts, seeing their idols on stage.

Later on, the bands each contributed a song to a compilation album called Stairway to Heaven/Highway to Hell, each covering an artist who had been touched by substance abuse.  The CD was produced by the biggest name at the time, Bruce Fairbairn himself.  The proceeds went to an anti-drug charity, for all the good “just saying no” does.  The album itself was a pretty great compilation of mostly exclusive music.  Though almost all of it is now available elsewhere, that wasn’t the case in 1989, making this a tempting buy.

Gorky Park, the up and comers, started off with “My Generation”.  Some find it too putrid to stomach.  It’s virtually an original song with only the lyrics recognizable.  The riffs and melodies seem otherwise new.  So give Gorky Park some credit for at least not attempting a carbon copy, but then you gotta take off some points for turning “My Generation” into a Bon Motley song.  Unfortunately for Gorky Park, their momentum halted when singer Nikolai Noskov quit in 1990.

Skid Row surprised the hell out of everyone with the Pistols’ “Holidays in the Sun”.  It was the first indication that Skid Row had punk roots.  “Holidays” was very much a look ahead to where they would go on Slave to the Grind.  They were on the punk bandwagon a full two years before Motley decided to cover the Sex Pistols.  It’s always strange to hear flashy metal guitar solos on a Pistols song, but it’s sheer joy to hear Sebastian spitting and screaming up a storm.

Scorpions had a new compilation out called Best of Rockers ‘n’ Ballads.  Another Who song, “I Can’t Explain” was taken from it to be used on this CD.  It is by far the better of the Who covers, as Scorpions really made it their own.  Next, Ozzy’s track is quite interesting.  It’s the only studio recording of the lineup including Zakk Wylde, Randy Castillo, and Geezer Butler.  Geezer quit the band shortly after, and this incredible lineup never recorded anything else.  I consider it the strongest band that Ozzy had after Randy Rhoads.  The quartet did a live sounding cover of “Purple Haze”, unfortunately not the greatest version.  It is at least a showcase for Zakk Wylde to go nuts on the wah-wah pedal.

I will argue that the best track on this album came from the band that was riding a brand new high:  Motley Crue.  Clean and mean, they were incredibly strong in 1989.  They the balls to choose an obscure Tommy Bolin (Deep Purple) solo tune:  “Teaser”.  Motley put on that Dr. Feelgood groove, and Mick Mars laid waste to the land with his slidey guitar goodness.  It’s no surprise that “Teaser” has reappeared on Motley compilations several times since.  It has balls as big as a bus!

Another strong contender is Bon Jovi’s take on Thin Lizzy.  “The Boys are Back in Town” fits seamlessly with that small town New Jersey vibe that Bon Jovi used to have.  Lynott must have had some influence on a young Jon Bon, because all his old tunes are about the boys – back in town!  Dino’s bar and grill could be in Sayreville NJ.  Of course, Bon Jovi are a competent enough band to be able to cover Thin Lizzy and do it well.

Another surprise:  Cinderella doing Janis Joplin.  Singer Tom Keifer suited Joplin, though you don’t immediately associate the two!  “Move Over” takes advantage of that Keifer shriek that isn’t too far removed from Janis.  From there on though, it’s filler.  Jason Bonham, Tico Torres and Mickey Curry do a pretty boring “Moby Dick”.  It’s funny how John Bonham sounds bigger on the original, than three drummers on this remake.  Then it’s a bunch of live jams from the Moscow concert:  “Hound Dog”, “Long Tall Sally”, “Blue Suede Shoes” and “Rock and Roll” (Bonham on drums again for the latter).  Vince Neil is hopelessly out-screamed by Sebastian Bach on the Zep tune.  All the singers participated, but Sebastian Bach and Tom Keifer blew ’em all away.

This disc has been out of print a while, but isn’t too hard to find.  80s rockers need to have it for its historical value.

3/5 stars

#595: Fighting for Kenner and Ivy

GETTING MORE TALE #595: Fighting for Kenner and Ivy

Sorry for the lack of musical content in this instalment of Getting More Tale, usually a series of stories about music.  In lieu of a music story, I’ll include my Top Five Tracks About Fighting for a Good Cause at the end!

 


Our friend Kenner Fee has not given up the fight, so neither will we.

Kenner has Autism. And Ivy is a Black Lab. Ivy calms Kenner’s anxieties and helps him cope with school and socializing. Outside of school, the two are inseparable. At school however, Ivy isn’t allowed to be with Kenner. The Waterloo Catholic District School Board says that Kenner doesn’t need a service dog. Kenner’s doctors, psychologists, therapists, parents and the Lions Foundation say otherwise.

Kenner’s parents, Craig and Amy. have been fighting with the WCDSB for over three years to get them to allow Ivy to attend school with Kenner at St. Kateri Catholic Elementary School in Kitchener. The fight has now escalated to the Ontario Human Rights Commission, where the Fee’s have had to invest thousands of dollars into lawyers and their charges, out of pocket. While the WCDSB has, what seems to be, unlimited taxpayer resources to pay for their lawyers.

Kenner was denied his basic human right to have his service dog in class with him.  Allow me to share a little bit about what I know of Kenner, because I see quite a few people are misinformed about this situation.

Ivy is not a therapy dog, as some sources have stated.  She is a service dog, trained and matched by the Lions Foundation of Canada Dog Guides.  Some bystanders have asked, “What about kids who are afraid of dogs?”  An excellent question, and I think Kenner’s supporters have offered a lot of great suggestions about that.  The truth is, if you have ever met a service dog, you know that they basically just…lay there!  That’s part of the training.  Second, having a service dog in a school would be a rare and valuable teaching experience.  I was terrified of dogs as a kid.  I’d run and they’d give chase!  Ivy would not do that, because she is a service dog.  If I had the chance to meet a dog like Ivy as a kid, it really would have helped me get over my fear of dogs earlier.

Another legitimate question has been about kids with allergies.  Supporters have suggested solutions to these problems too.  None of them are unsolvable.  I’m terribly allergic myself.  If there happens to be only one class for Kenner’s grade, make sure the classroom doesn’t have carpet flooring, and keep Kenner on the opposite side of the room as any kids with allergies.  Ensure that teachers have a supply of each child’s allergy medication — Reactine, Visine, whatever.  Why is every other child’s needs more important than Kenner’s?  Allergies are real, but so is autism.  And the results Kenner has seen because of Ivy are extraordinary.  I know a little bit more about the situation than I can talk about, but I can say this.

I’ve seen Kenner, with Ivy at his side, give an amazing speech in front of hundreds of adults.  I couldn’t believe it.  Seeing that knocked me out; he made me see what potential can be unlocked.  He’s a gifted young man.  He deserves to be able to go to school and be at his best.  The Catholic school board keeps talking about how they assess each kid on a case by case basis.  It is interesting to note that they don’t have any service dogs in any of their schools in Ontario.  A child in Burlington is currently fighting the same battle as Kenner Fee, for the same reason.  He too has autism.  I wonder if the Catholic School Board is fighting this so hard simply because it’s easier than doing the work to accommodate. Currently, the Board is denying Kenner his basic right to fulfill his potential in school.  They say he gets good grades without Ivy.  That may be true, but he is truly exceptional when he is with her.  I have seen this and  I admire the little guy.

This is an expensive fight.  A GoFundMe page has been set up.

We’re asking the public to join us in raising  funds to help the Fee’s offset a fraction of the legal expenses they’ve personally incurred throughout the Human Rights Tribunal.  Anything raised over our target amount will be donated to the Lions Foundation of Canada Dog Guides, where Ivy was obtained.

Even if you can’t donate, every comment helps!  I know for a fact that Kenner is blown away by the amount of support he’s seen.  “I didn’t know so many people cared about me!” he said after a recent service dog protest.  He loves to know he has support so feel free to leave a comment, and we’ll make sure his parents get them!

#KennerAndIvy #WeStandWithKennerAndIvy #IStandWithKennerAndIvy

 


Top Five Tracks About Fighting for a Good Cause

5. Triumph – “Fight the Good Fight”

4. Warrior – “Fighting for the Earth”

3. Motley Crue – “Fight for Your Rights”

2. Bob Marley – “Get Up Stand Up”

1. Tom Petty – “I Won’t Back Down”

 

In the top photo there is a service dog and a Party Dog.  Can you tell which is which?

 

 

#594: St. Anger

GETTING MORE TALE #594: St. Anger

As a half-Italian, part-German, part Scottish guy, I was born with a fuse.  Sometimes that fuse can go off.  Nothing makes me angrier than when my wife, who has epilepsy, is told to “fuck off” because of her need to be away from flashing lights.  We’ve written extensively about epilepsy and our experiences, good and bad.  We are very open about it, happy to answer questions and eager to educate.   So when I hear that my wife had a seizure at the mall because of flashing lights and a guy who told her to “fuck off” and “stay indoors”, I feel like I could explode!

Here’s what happened.  Our wedding anniversary is August 31.  We had a nice dinner booked at Borealis, our favourite local eatery.  Jennifer went out to the mall that afternoon to get some things we needed for the weekend.  At the Walmart checkout, there was a child with those shoes that have flashing lights in the heels.  I don’t understand the need for those shoes.  At night, sure, I get it.  In a brightly lit Walmart, they’re a hazard to people prone to seizures.  An actual hazard as real as a slippery floor.

My wife asked the closest lady if that was her child.  She said “No.”  But it actually was her child.  Jen covered her eyes as the kid danced around the checkout aisle with the flashing heels.  She asked the lady to tell her when the flashing stopped so she could uncover her eyes.  The lady said it stopped.  She opened her eyes and the kid was still dancing and the shoes were still flashing.  She covered her eyes again.  She was getting upset.  Suddenly the lady’s husband showed up out of nowhere and began berating my wife.  He told her to “mind your own business”, that she should “fuck off”, and “stay indoors” if she had a problem with the shoes.

And so, she had a seizure in the checkout.  She doesn’t remember anything after paying for her things.  She remembers telling the cashier that she was probably going to have a seizure.  The next thing she knew is that the paramedics were there and she was in an ambulance.  I will give Walmart and the mall credit for being proactive about this.  They know my wife (unfortunately from past seizures) and they have my phone number on file.  They called me immediately.

I took Jen home and she had a good rest.   We didn’t have our dinner out that night.  But we had a great dinner in, and a lovely anniversary at home.  We went out the following night instead.

Here’s the kick in the nuts.  At the exact time I got that phone call from the mall about my wife, I read the story about how our friend Kenner Fee, who has autism, will not be allowed to bring his service dog to school. It was a painful one-two punch.

The anger simmered in me.  I came home and keyboard-warriored my way around Facebook, to the ignorant trolls on the Kenner Fee threads.  I wrote a few zingers, and before I knew it, two hours had gone by.  But by the end, I wasn’t angry anymore.  It might not have been the healthiest method of anger management.

I think there are two really healthy ways to let the anger out.  They are music, and being physically active.

I like to kill two birds with one stone.  My favourite thing is to put on something fast and heavy.  Metallica works as a go-to.  Testament, even Sabbath, they all work.  Hit play, turn up the volume.  Then I just fucking thrash.  Air drums, air guitar, headbanging, whatever.  Just physically moving with the tunes.  Air drums work fantastic for this.  Lipsynching helps.  Or, sing along if you’re not too self-conscious.

“And I want my anger to be healthy” — Metallica

I remember when I was younger, there was this one girl named Tracy that I really liked.  But she just kept me hanging along for months.  One night she had a friend of hers crank call me, pretending to be somebody from my history class that liked me.  I fell for it and got crushed.  And I was pissed off.

The music that came in handy that time was Motley Crue.  “Primal Scream” might have been their heaviest tune at the time.  The lyrics were in sync too.  “You just got to scream!  And shout!  Let that mother out!”  And I believed that.  Sometimes you do have to let that mother out.

Whatever you do, do it healthy!  I recommend a solid soundtrack of heavy metal to go with it.