Out of the Cellar

THREE-VIEW: Ratt – Out of the Cellar (1984, 2024 40th Anniversary edition)

RATT – Out of the Cellar (1984 Atlantic, 2024 40th Anniversary edition)

Shame, shame, shame on Ratt.

In 2020 they released a beautiful Atlantic Years box set, featuring bonus tracks including one for Out of the Cellar.  In 2024, they coughed up Ratt Rarities, with a bunch of unreleased Ratt tracks.  And now, mere months later, we are given another reissue of Out of the Cellar, this one featuring lenticular cover art and one more unreleased Ratt song.  This song could have been released on a 7″ single on its own, but if you want that, you have to buy the vinyl album all over again.  If you want the unreleased song on CD, you have to buy Out of the Cellar one more time.  I believe this is my fourth or fifth copy of Out of the Cellar now.  This is just exploitative of the fans.  Pearcy must need another swimming pool.

Is the one song worth re-buying the album again?  Fortunately the answer is yes.  “Reach For the Sky” is a 1983 Cellar demo written by Stephen Pearcy, Robbin Crosby, and Marq Torien of Bulletboys.  It sounds remarkably finished.  The guitar harmonies feel very latter-day Thin Lizzy, upon which the guys build a pretty cool song.  Though not as slick as Cellar, it sounds fully produced and ready to release.  Amazing that songs like this can remain buried for 40 years, and was never resurrected for an album even though the title was used in 1988 for the album Reach For the Sky.  While this one song didn’t warrant an entire album re-release, at least we got it.

The album itself remains solid four decades after the fact.  Opening with cowboy themed “Wanted Man”, the five Ratt Rodents were off to a compelling start.  The disorienting sound of backwards drums heralds in “Wanted Man” is an inventive way to make their introduction.  A simple, slow, chomping riff is menacing enough, while Stephen Pearcy growls though various Western metaphors.  “By the road, you will hang, it’s your neck from this Ratt gang.”  The capable harmonies of the band and especially Juan Crocier help nail the melodies that Pearcy alone can’t.  Nice solo work.  A great track worthy of a multiplatinum album.

“You’re In Trouble” is a little different.  Juan’s clunky bass still sounds a bit out of place, though the choruses rule.  But “Round and Round”?  Still a total sleaze rock triumph.  A keen sense of melody, rhythm and vibe mixed together with a sweaty Stephen Pearcy.  Brilliant solo work from Warren DeMartini, and perfectly layered harmonies under the production of Beau Hill.  Every element punches, from the simple but memorable riff and those echoey choruses.  Dated to the period, but tasty for all ages.

A nice choppy guitar bodes well on “In Your Direction”, a slinky number that serves Stephen’s style well.  Decent song, but with only one trick.  “She Wants Money” is more fun, a fast upbeat blast on a familiar theme, with Robbin “King” Crosby on lead guitar.  It’s hard not to headbang along with the melodic fun of “She Wants Money”.  That ended side one on the original record.

The second side opens “Lack of Communication”, a biting track just missing one key ingredient:  a real chorus.  The saw-like riff smokes, the verses are great, but it never resolves into a definitive hook.  It’s basically just the riff with some words over it.  “Lack of communication, back off!”

“Back For More” is a little disjointed but salvages it with a killer chorus.  Screamin’ Pearcy and the rodent choir give it the final polish.  Brilliant solo work here by Warren.  Then, one of the best non-singles is the blazing fast “The Morning After”.  It has a bit of a Quiet Riot vibe.  Juan’s bass is furious while Pearcy sings it for melody.  “I’m Insane” is mindless fun; just bad boy rock with the popular “I’m crazy” theme that their pal Ozzy was milking for millions.  Finally the album closes on “Scene of the Crime” which has a neat guitar hook that unfortunately is all but unrelated to the rest of the song.  Some cool melodies with the patented Ratt harmonies here.  Still, solid enough song that if they had been looking for another single, it could have been “Scene of the Crime”.

This reissue doesn’t have any additional packaging or liner notes besides the new lenticular cover.  The lenticular art  is nice, but it’s not solidly anchored to the packaging.  It feels like a symbol for the half-arsed nature of this reissue.

3.5/5 stars

REVIEW: Ratt – Rarities (2024)

RATT – Rarities (2024 Deadline)

Now that Ratt has ceased to exist as a band, we seem to be getting better and better reissues.  There was that Atlantic Albums CD set that came out recently with cool bonus tracks, and a forthcoming LP reissue with that set with an additional recently-discovered unreleased track.  Too bad Stephen Pearcy didn’t dig that one up in time to issue on 2024’s Rarities album, a nine track compilation of unreleased versions spanning 1982 to 1989.  These include the classic lineup of Peacy, Robbin Crosby, Warren DeMartini, Bobby Blotzer and Juan Crocier.  There is also one previously unheard song written by Pearcy and Crosby to add some extra value.

We open with a 1983 version of “Tell the World” from the 1984 Ratt EP.  It is a less polished version of the same, complete with shouted backing vocals and echo effects.  The most notable differences are the prominent busy Blotzer drum fills.  This is followed by a 1982 rehearsal tape of the hit-to-be, “Round and Round”.  Of course the sound quality is what should expect for a 1982 rehearsal tape.  It’s garage quality and probably recorded by a boom box in a really loud room.  That said, it’s still a fun listen since the band is so tight and the song was years away from the charts.  It’s actually unfinished; about 90% there.

Do you know how many songs Ratt have about wanting something?  We already have “I Want A Woman” and “I Want To Love You Tonight”, which might be why “I Want It All” didn’t make an album.  “I Want It All” is an undated demo from the 80s that was later finished up with new bassist Robbie Crane on 1997’s Collage.  This older version is rougher but otherwise the same arrangement.  It’s a little different for Ratt, opening with acoustic guitars.  It’s a good sassy mid-tempo Ratt track that would have fit on any number of albums post-Out of the Cellar.

The next batch of tunes are live.  “In Your Direction” from Cellar is from 1987, as is “Round and Round”, “Body Talk” and “Drive Me Crazy”, though “Body Talk” is also noted as being live in Germany.  “In Your Direction” is bootleggy, most likely an audience recording.  “Round and Round” is clearer but a little by rote.  You can hear Juan’s backing vocals clearly, and Stephen even drops an F-bomb that would have been edited out had it been released in the 80s.

“Body Talk” and “Drive Me Crazy are a pair from Dancing Undercover.  The intensity of “Body Talk” is impressive, though some of it gets washed out in the thrashy tempo.  The greatest sin, however, is the premature fadeout during the guitar solo.  There is no such fade on “Drive Me Crazy” which fares well live.  The backing vocals are a bit ragged, but it all holds together in a stampeding Ratt romp.

Back to a 1985, “Wanted Man” from Cellar is the last of the live songs.  The bass drum is a bit thuddy, and nothing’s particularly clear (especially Robbin), but the performance is spot on.  Listen, we all like buying bootlegs, don’t we?  You should have no issue with the sound quality so long as you understand in advance, none of these recordings were intended for release.

The final song is the previously unheard “Love on the Rocks” from 1989, which did not make the Detonator record.  Written by Stephen and Robbin, it’s a pretty damn solid Ratt song and one of the best sounding tracks on the album.  The chorus is decent and a properly produced version would have been polished-up album worthy.  As it is, it’s a good B-side or bonus track.

While not essential, this Ratt compilation is a solid addition to any collection.  It’s for the fan that has everything but wants a little (back for) more.  But that cover artwork?  Surely they could have done better than that.

3/5 stars

RE-REVIEW: Ratt – Out of the Cellar (Part One of The Atlantic Years series)

Part One of Five

RATT – Out of the Cellar (Originally 1984, 2020 reissue — The Atlantic Years 1984-1990 box set)

Ratt’s first full-length Out of the Cellar was a multiplatinum smash.  The band didn’t come out of nowhere, with a successful EP already under their fur.  Though an undeniable commercial success, was Out of the Cellar that great?  Let’s listen with fresh ears to the recent reissue in The Atlantic Years 1984-1990 box set, and see if we can hear with objectivity what those rodents were up to.

The disorienting sound of backwards drums heralds in opener “Wanted Man”, an inventive way to make their introduction.  These Ratts were cowboys, although they wore too much makeup for the ranch.  A simple, slow, chomping riff is menacing enough while Stephen Pearcy growls though.  The capable harmonies of the band and especially Juan Crocier help nail the melodies that Pearcy alone can’t.  A great track worthy of a multiplatinum album.

“You’re In Trouble” is…less worthy.  Clunky bass, chaotic guitars.  But “Round and Round”?  Still as great as ever.  As regal as these rodents are ever likely to sound.  A keen sense of melody, rhythm and vibe mixed together with a sweaty Stephen Pearcy.  Brilliant solo work from Warren DeMartini, and perfectly layered harmonies under the production of Beau Hill.

A nice choppy guitar bodes well on “In Your Direction”, a slinky number that serves Stephen’s style well.  Square, head-bangin’ rhythm from Bobby “Da Blotz” Blotzer.  Decent song, but with only one trick.  “She Wants Money” is more fun, a fast upbeat blast on a familiar theme.  Robbin “King” Crosby on lead guitar here.

The second side opens “Lack of Communication”, a biting track just missing one key ingredient:  a decent chorus.  The saw-like riff smokes, the verses are great, but it never resolves into a definitive hook.

“Back For More” is a little disjointed but salvages it with a killer chorus.  Screamin’ Pearcy and the rodent choir give it the final polish.  Brilliant solo work here by Warren.  Then, one of the best non-singles “The Morning After” will leave you drenched.  It has a bit of a Quiet Riot vibe (Carlos Cavazo ended up in Ratt much later).  “I’m Insane” is mindless fun; just bad boy rock with the popular “I’m crazy” theme that their pal Ozzy was milking for millions.  Finally the album closes on “Scene of the Crime” which has a neat guitar hook that unfortunately is all but unrelated to the rest of the song.  Some cool melodies with the patented Ratt harmonies here.

The box set comes with minor bonus tracks on each disc.  This one has a single edit (3:46) of “Round and Round”.  No problem hearing “Round and Round” twice, but missing most of the solo?  Ugh.  Really bad edit.

Good start to the Ratt The Atlantic Years 1984-1990 box set, and better than memory served.  Rest in peace to Tawny Kitaen: the cover model on this album, the first EP, and the box set itself.

3.5/5 stars

REVIEW: Ratt – Out of the Cellar (1984)

Scan_20150801RATT – Out of the Cellar (1984 Atlantic)

Out of the Cellar was my first Ratt album, acquired in a trade from next door neighbour George.  Considering how big Ratt were at the time, I expected it to be better.  In the 80’s, I felt like Out of the Cellar was a handful of singles padded out by filler.  I haven’t played the whole album in years (at least five), so this review is coming from a fresh perspective.  Dusting off the CD, I note on the credits the name of producer Beau Hill — never one of my favourites.

One of the aforementioned singles, “Wanted Man”, opens the album on an up note.  The cowboy motif has been popular in hard rock at least since David Lee Roth wore buttless chaps.  Tough, slow and menacing is “Wanted Man”.  Everything about it is classic hard rock.  Finger-blurring solos, thick backing vocals (courtesy of Juan Crocier mostly), and a big chorus are all it takes in the world of Ratt.  “Wanted Man” has always been a high point from Out of the Cellar, and it remains just as cool today.

“You’re in Trouble” kinda smells funny, as rock songs with funky bass often do.  Great chorus, but the rest of the song fails to generate any sort of fist-pumping.  This is easily forgotten since the third track is the big one.  “Round and Round”…what is it about this song?  It’s still irresistible today.  Why?  Everything clicks.  It is the perfect formulation of Robbin’s riffing, Warren’s picking, and Steven’s sneer.  Bobby and Juan keep the pulse tough and punchy.  It’s just one of those magical songs from that era that still has the goods.

Moving on, “In Your Direction” is suitable for an album track.  Ratt referred to their sound as “Ratt N’ Roll”, because according to them, it was their own sound unlike other bands.  That may be so, but unfortunately Ratt N’ Roll is pretty limited as far as genres go.  If you cross “Wanted Man” with “You’re In Trouble”, you get something like “In Your Direction”.  Ratt albums have always suffered from too many soundalike songs.  Smoking solo though — very Eddie-like.  “She Wants Money” is pretty good.  These old melodies are coming back, as are old memories.  “She Wants Money” is one of the strongest non-singles on Out of the Cellar.

Frustratingly, “Lack of Communication” is a good song that lacks a good chorus.  “Lack of communication, back off!”  Something’s not clicking there, which is too bad because the rest of the song was really decent.  What we need now is another single.  “Back For More” was always outstanding for a Ratt song. The acoustic intro was the only soft moment, on an album composed 100% of rockers. “Back For More” is punchy and memorable, a pretty great example of Ratt N’ Roll because it doesn’t sound too much like the other songs.

Stormy guitars and cool Pearcy vocals keep “The Morning After” rocking ’til dawn. “I’m Insane” ain’t too bad, another nondescript pedal-to-the-metal Ratt N’ Roller. “Scene of the Crime” is another fairless faceless Ratt song, which closes the album. It’s a fairly limp ending, and there’s nothing about the production that really aids or abets the album.

Listening to Out of the Cellar today is much the same as it was in the 80’s. It has enough high points to give credit where credit is due, but given the chance to listen to it or a “best of” CD, you’re going to go with the compilation. It’s too bad Ratt couldn’t have tightened up some of these songs a bit first, in the writing stage.

3/5 stars

REVIEW: Ratt – Ratt (EP)

Here’s the first review from the The Toronto Musical Collectibles Record & CD Sale! I promised I’d show you more of the stuff I scored. Here’s one!
RATT

RATT – Ratt (1984 remixed EP, Time Coast)

My understanding is that this EP, much like Twisted Sister’s Under the Blade, was remixed and re-released.  It is the remixed version that I got in Mississauga at the Toronto Musical Collectibles Record Show.  I’ve wanted this EP for a long time, but for some reason it’s only now that I finally picked it up.  I was pleased to find it an enjoyable listen, easily on a par with Out of the Cellar, possibly Ratt’s best album.

Europe got 7 tracks on their version of the original mix (wishlist!), but this remixed version only has six.  Missing is “You’re In Trouble” which in re-recorded version was also on Out of the Cellar.  6 songs is a good length, too much Ratt can sound like razorblades coming at your ears, some times!  This self-titled debut keeps things brief, each of its songs more or less delivering the goods.

RATT LABELThe opener “Sweet Cheater” and “U Got It” are the faster side of Ratt.  I love Bobby “Da Blotz” Blotzer’s simple but gleeful drum intro.  (Can’t believe this guy was in Tateryche.)  Both songs have decent riffs, once again keeping things simple.  Pearcy’s trademark vocal snark is in fine form.  Ratt are not a great rock n’ roll band, but they certainly satisfy my cravings when I need some spandex-wrapped non-wimpy LA hard rock.  No ballads.  They had their own sound, largely due to Pearcy’s one-of-a-kind voice.

The closest thing to a ballad would be “Back For More”, which is to say, it has some acoustic guitars before Pearcy yelps, “You turn him away, you tell him you’re mine, You make him believe you’re but one of a kind.”  Meaningless but cocky.  Which maybe sums up the whole Ratt experience.  This is an early version of the hit song from Out of the Cellar, a bit longer, needing some of the fat trimmed.

“Walkin’ the Dog” is a Rufus Thomas cover via Aerosmith.  Aerosmith were in no danger of being dethroned by Ratt’s version, but it’s fun.  It suits their sound, it’s heavy, they throw their own attitude into it, and I’m sure there were youngsters of the 1980’s who assumed it was their own original tune.  The guitar solo is great.

The best song is the single “You Think You’re Tough”.  If Ratt has two sides (fast, and mid-tempo) then this is the mid-tempo side.  The riff is one of their best, the chorus and bridges are great, and the video had both Ozzy and Motley Crue in it.  Cool.

That’s Tawny Kitaen on the cover.  Pre-Coverdale.  She was dating Robbin Crosby at the time!

4/5 stars

Side A:

  1. “Sweet Cheater”
  2. “You Think You’re Tough”
  3. “U Got It”

Side B:

  1. “Tell the World”
  2. “Back for More”
  3. “Walkin’ the Dog”