Polygram

REVIEW: Scorpions – World Wide Live (1985 vinyl)

SCORPIONS – World Wide Live (1985 Polygram, 2 record set)

The first waves of CD releases generally sucked.  Double live albums like World Wide Live, Live After Death, Stages and Exit…Stage Left were edited down to fit on a single CD. One way to ensure you got the complete album (with great sound) was to just go and buy an original vinyl.  That is still the best way to enjoy World Wide Live.

The Scorpions were at a peak in 1985.  The Love at First Sting tour was one of the biggest metal shows of the decade, but the band hit a speed bump after.  This double live album was culled from five shows (three in the US and two in Europe), and sequenced for impact.

“Coming Home” and “Blackout” are a pair of bruisers.  One can detect vocal overdubs (sounds like two or three Klauses singing at once on the choruses) but they are largely unobtrusive.  Surely most of the album must be live.  You can appreciate why the Scorpions were (and still are) huge.  Riffs slice from one side to the other, while Klaus Meine dive-bombs like a screaming Stuka.  They also had the music.  Love at First Sting produced a number of hits (all here).  Nothing from the early (Uli Roth) days though, which means the album leans towards the streamlined-style Scorpions.  Older stuff would have been nice, but also would have overlapped with their prior double live, Tokyo Tapes.  None of that material was in their current set either.

This is a minor quibble.  These are the ultimate live versions of classic tunes like “Loving You Sunday Morning”, “Make it Real”, “Coast to Coast”, “Big City Nights”, “Can’t Live Without You” and all the rest.  The ballads (“Holiday”, “Still Loving You”) are awesome too, and stacked together so you can get the ballads out of the way and back to rocking again.  Scorpions must surely be one of the definitive ballad bands in metal.  These two are legendary.

Side 4 is pretty epic:  “The Zoo”, “No One Like You”, and an extended “Can’t Get Enough” with Jabs solo.  Klaus Meine has an endearing German accent; everybody loves when he tells California that they really know how to partaaaay!  (This was immortalised by Sebastian Bach in Season 7 of Trailer Park Boys where he performs a killer Klaus impression.)

Your wisest course of action should be clear.  Pick up both Tokyo Tapes and World Wide Live, on vinyl, and get all the best Scorpions tunes done up live.  This is good stuff.

4/5 stars

 

 

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REVIEW: Bon Jovi – Red Hot and 2 Parts Live (1985 EP)

 

All hail the mighty Aaron of the KMA.  He is a very generous man.  He is known to send parcels to friends all over the world, and he always keeps an eye out for things that people look for.  He’s incredible that way, and he deserves a tremendous amount of recognition for all he does for the Community.

 

BON JOVI – Red Hot and 2 Parts Live (1985 red vinyl Polygram EP)

Preamble:  Although I forgot about this, back in the fall Aaron did his regular Toronto shopping excursion.  He found a Bon Jovi 12″ single that I’d never seen before.  But I was tapped out, cash wise.  I had done my own Toronto trip to pick up an an absolutely massive toy for my collection.  Apparently he texted me about the Bon Jovi, and I asked him to leave it there because I couldn’t afford it.  Naturally he bought it anyway and secretly stashed it away.

Aaron sent me a big box of goodies for Christmas (and reviews of those will come too!) but the Bon Jovi was the centerpiece.  I didn’t actually open this box of goodies until Easter.  Due to illness and circumstance, our family finally just got around to celebrating Christmas.  I saved his box until then.

This three song EP, on brilliant clear red vinyl, has two live tracks and one remix.  “Hardest Part is the Night” (from 7800° Fahrenheit) was mixed by David Theoner though the differences are minor.  Interestingly, it was also issued as its own single with “Always Run to You” on the B-side.

The other two tracks were recorded live in Japan in 1985.  “Tokyo Road” was later released on the remastered 7800° Fahrenheit as a bonus track, but that CD doesn’t look nearly as pretty as this vinyl.  It’s a little odd hearing Jon introduce it by saying, “Welcome back to ‘Tokyo Road’…” when in fact they were the visitors in Tokyo, but whatever!  Jon’s the professional frontman, not me.  “In and Out of Love” is the real treat, featuring an extended guitar solo, and a different version from the one on 7800° Fahrenheit.  The track is still over 10 minutes long with all that (smoking) noodlin’, but Sambora fans who miss him will want to have this.

Fans of early Bon Jovi — hunt down this EP.  Get it or live your life without this awesome live Bon Jovi that you won’t get otherwise.

4.5/5 stars

 

RE-REVIEW: KISS – “God Gave Rock & Roll to You II” (1991 single)

The KISS RE-REVIEW SERIES Part 40:

 – “God Gave Rock & Roll to You II” (1991 Interscope single)

Kiss’ Hot in the Shade tour wasn’t a sellout, but it was well received by fans who appreciated that a bunch of older songs were back in the set.  The tour was unfortunately highlighted by the June 15, 1990 date in Toronto, igniting a feud with Whitesnake.  Kiss were third on a four-band bill, with David Coverdale, Steve Vai and company in the headlining slot.  Paul Stanley used his stage raps to complain that Whitesnake wouldn’t let them use their full setup, including a giant sphinx.  When Whitesnake hit the stage, it was to a chorus of boos.  Steve Vai later stated that it was the first time he had ever been booed.  Vai once even walked onstage to the sound of people chanting “Yngwie! Yngwie! Yngwie!”, but he had never been booed until the incident with Kiss in Toronto.

When the tour wrapped up in November, Kiss took a few months off before gearing up again in the new year.  It was to be another album, another tour, but suddenly real life interfered.

Eric Carr hadn’t been feeling well.  Flu-like symptoms turned out to be heart cancer.  Simultaneously, Kiss received an offer to record a song for the sequel to Bill & Ted’s Excellent Adventure.  Carr underwent surgery in April, with chemotherapy following.  Having little choice, Kiss recorded without him.  Eric Singer, who had performed so well on Paul Stanley’s solo tour, filled in on drums.  Eric Carr, in a wig, was able to play for the music video taping.  He gave his all, and did a full day’s shoot, with excellent (pun intended) results.

Unfortunately a rift was developing, with Eric Carr feeling shunned and excluded from Kiss.  He was afraid he was going to be replaced, permanently, and his relationship with the band was strained.  Although everybody hoped Eric would make a full recovery, he passed away from a brain haemorrhage on November 24, 1991.  Eric Carr was 41.

On the same date, Freddie Mercury of Queen succumbed to AIDS.  Carr’s death was barely mentioned in the news, including Rolling Stone magazine who missed it completely, prompting a harsh reply from Kiss:

If anything positive came from Eric Carr’s death, it was that Kiss were going to put all that anger and frustration back into the music.  The music was to be their Revenge.

It started with “God Gave Rock & Roll to You II”, a re-imagining of an old Argent song for the Bill & Ted movie.  Eric Carr may not have been well enough to play drums, but that didn’t stop him from singing.  His vocals on “God Gave Rock & Roll to You II” were his last.  The song wouldn’t be the same without Carr, as he can be heard sweetly harmonising with Paul Stanley.   Eric Singer wasn’t credited on the single, or the final soundtrack for Bill & Ted’s Bogus Journey.  It simply says “performed by Kiss”.

“God Gave Rock & Roll to You II” was important for two more reasons.  First, and very significantly, it was produced by Bob Ezrin.  Ezrin was responsible for the two albums that some consider Kiss’ best, and Kiss’ worst.  It had been 10 years.  A Kiss-Ezrin reunion was very big news for fans.  It indicated that Kiss meant business this time.  Secondly, “God Gave Rock & Roll to You II” was the first Paul Stanley/Gene Simmons (with Bob Ezrin and Russ Ballard) co-writing credit since 1985, and their first shared vocals in ages upon ages.

Although it didn’t make waves in 1991, “God Gave Rock & Roll to You II” has become enough of a favourite to make it onto 2015’s Kiss 40 compilation, and continue to be played live.  It shows off what Kiss can really do.  Yes, they can sing!  Yes, they can play!   This lineup could do it particularly well.  It’s appropriate that Eric Carr went out on a good Kiss track.  And Eric Singer was the right guy to continue.

There are three released versions of “God Gave Rock & Roll to You II”:  The single edit (3:57), the soundtrack version (5:23) and the final 1992 version that was later released on the next Kiss album (5:19).  The single edit cuts out too much of the grand, pompous arrangement, including the epic opening.

In an ironic twist, the version of “God Gave Rock & Roll to You II” that is in the movie has a guitar intro solo by Steve Vai.  The same guy whose band got booed in Toronto thanks to Kiss.

The CD single is rounded out by two more songs from the Bill & Ted soundtrack, by Slaughter and King’s X.  The King’s X track, “Junior’s Gone Wild” (previously reviewed in our mega King’s X series) has never been one of their better tunes, but as a non-album rarity, a nice one to have.  Just don’t judge King’s X by this one track.  Slaughter turned in something better, a fun party tune called “Shout It Out”, also a non-album recording.  Slaughter, of course, were one of Kiss’ well-received opening acts on the Hot in the Shade tour.  And what was their Kiss connection?  Mark Slaughter and Dana Strum were in a band with Kiss’ old guitar player, called the Vinnie Vincent Invasion!

As work proceeded on the next LP, the world suddenly changed.  Hard rock was out, and grunge took over MTV.  This single bought Kiss a little bit of time, but it was going to be the longest gap between Kiss albums yet — three years.  Revenge had to wait a little longer.

Today’s rating:

3.5/5 stars

 

Original mikeladano.com review:  2012/08/08

 

 

REVIEW: KISS – “Forever” (4 track single, 1990)

The KISS RE-REVIEW SERIES Part 39: bonus single review

 – “Forever” (1990 Polygram EP)

Kiss took the unusual step of waiting six months before going out on tour to support Hot in the Shade.  Bands were having trouble selling out arenas.  In the meantime they released singles and videos.  “Hide Your Heart” came first in October of 1989.  It did alright; for fans the best part of “Hide Your Heart” was seeing Paul Stanley playing guitar again in the music video.  The CD single was nothing special; just the Paul Stanley A-side, backed by two Gene Simmons B-sides, as had become the norm.  “Betrayed” and “Boomerang” were among the better Simmons tracks to chose from Hot in the Shade.

In January of the new year, they dropped what they hoped to be the big single, “Forever”.  The excellent music video was an MTV hit, going to #1, while the single went to #8 on the U.S. Billboard Hot 100.  One reason the video was so well received is that it was a rare back-to-basics look at the band.  It was just four guys playing together in a room.  No girls, no gimmicks, no dancing.  Featuring exceptional performances by Eric Carr and Bruce Kulick, “Forever” was one of those rare ballads with integrity.  Having Bruce’s old Blackjack buddy, Michael Bolton, in the writing credits didn’t hurt.

Ace Frehley wasn’t impressed though.  In the July 1990 issue of Guitar for the Practising Musician, he dismissed it as pop.  He wasn’t wrong, but that doesn’t make “Forever” bad.

The single for “Forever” received a wider release on all three major formats (CD, vinyl and tape), and was expanded to EP length with four tracks.  It also received something very rare for Kiss:  a single exclusive remix, by Steve Thompson and Michael Barbiero.  It has some difference in levels and echo.  However, every CD copy of this single has a flaw, a skip at 1:40 that shouldn’t be there.  It’s not even a damaged CD; if you look at the track times, the single version is encoded few seconds shorter.  In other words a faulty master was used on every CD single.  You won’t find one without the skip.  Vinyl and cassette don’t have the flaw.

Fortunately this oversight was fixed when Kiss released their box set a decade later.  The correct remixed single version without flaw was remastered and included in the set.

The included B-sides are an interesting mix.  From the Hot in the Shade album, there’s the Gene Simmons throwaway “The Street Giveth and the Street Taketh Away”.  The other two are, strangely, two of Paul’s “new” tracks from Kiss Killers.  The logic here was the Kiss Killers was (and still is) unreleased in North America.  At least this gave us an easy way to get the amazing “Nowhere to Run” on CD.

Too bad about that flaw on the CD version.  Otherwise this isn’t a bad little single.

4/5 stars (cassette and vinyl versions)

0/5 stars (CD)

To be continued…

 

 

RE-REVIEW: KISS – Hot in the Shade (1989)

The KISS RE-REVIEW SERIES Part 38: 

 – Hot in the Shade (1989 Polygram)

Step one:  Get Gene Simmons’ demon head back into the game.

Step two:  Record a rock album, not a Bon-keyboard-Jovi-Kiss hybrid.

Throw in the kitchen sink while you’re at it.  It’s Kiss, so what’s wrong with excess?  Why not a new album with 15 tracks?  Why not work with Vini Poncia, Desmond Child, Holly Knight, and Michael Bolotin Bolton?  How about bringing in Tommy Thayer from Black ‘n Blue to co-write some tunes?

Why not indeed.  The results yielded were interesting to say the least, and certainly more rock and roll than anything else Kiss did in the 1980s.  It is also overall one of the hardest Kiss albums to listen to front to back.  A for effort, D for songs.  Its bloated and unfinished track list seemed like Kiss was trying really hard on one end, but gave up on the other.

Paul Stanley and Gene Simmons self-produced Hot in the Shade, after the negative experience with outsider Ron Nevison.  This meant that there was no-one to push them to do better, as Bob Ezrin and Eddie Kramer would.  No-one to say “no” to using demo tapes on the finished albums.  No-one to say “no” to 15 tracks, to drum machines, and to sub-par songs.

Issues aside, Hot in the Shade is not all bad.  At least you can say that Kiss went for it.

Opener “Rise to It” begins with something new:  acoustic slide guitar (from Paul Stanley)!  In a time when rock bands were re-discovering the blues, this old-timey touch was a welcome sound.  The slide gives way to one of Paul’s most incendiary tracks of the decade.  Written with expert songsmith Bob Halligan Jr., “Rise to It” hits all the right spots.

“Rise to It” was eventually chosen as a third single to promote Kiss’ upcoming 1990 tour.  The music video opened a door that fans refused to allow them to close:  Kiss in makeup again.  Instead of the slide guitar intro, the video takes us to a theoretical 1975.  Gene and Paul sit in the dressing room, applying their legendary whitepaint.  The conversation was one that Gene and Paul may have had many times in the old days:  musing on a life without makeup.

“I saw that review today.  Some of those people don’t think this is gonna last.  They think it’s a joke,” says Paul.  Gene reassures them that it doesn’t matter as long as they believe in themselves.

“I bet you we could take the makeup off and it wouldn’t make any difference,” Paul retorts.  Gene calls him nuts.

“Gene, there’s nothing we can’t do.”

“Still say you’re nuts.”

At the end of the video, there they were: Paul and Gene, Starchild and Demon, in makeup for the first time in seven years.  What did it mean?  Was it just hype?  Of course it was.  It would be seven more years before they’d do a tour in makeup again.

But it was cool, and it made many fans smile ear to ear.

Like all the previous Kiss albums from the non-makeup era, all three single/videos were Paul songs.  Though “Rise to It” is the most noteworthy video, “Hide Your Heart” was first.  This Stanley/Child/Knight outtake from Crazy Nights was actually first recorded by Bonnie Tyler in 1988.   At the same time that Kiss were recording it for Hot in the Shade, Ace Frehley also did his own version for 1989’s Trouble Walkin’.  Confusing?  Kiss were the only band to have a semi-hit with it (#22 US).

As a nice change of pace from putting X’s in sex, the lyrics were a story about star-crossed lovers in gangland.  “Tito looked for Johnny with a vengeance and a gun, Johnny better run better run,” sings Paul.   In fact, “Hide Your Heart” does not get enough credit in fan circles for being lyrically different.  At least it is recognised as a great tune from a poor album.

Kiss weren’t worried about competition from Ace and did indeed record the best version of “Hide Your Heart”.

The most notable single was the ballad “Forever” (and we will take a closer look at the CD single in the next instalment of this series). Michael Bolton was an old bandmate of Bruce Kulick’s from the Blackjack days.  Before he was a superstar crooner, he was a rocker.  Together he and Paul wrote “Forever”, which became the big hit (#8 Billboard hot 100).

As an acoustic ballad, “Forever” is far more palatable than the keyboardy “Reason to Live” from ’87.  What gives it balls are the two unsung Kiss members:  Kulick and Eric Carr.  Eric’s heavy drumming on “Forever” really kicks it up a notch.  Listen to that hammering 1-2-3-4 bit at the 1:05 mark.  “When you’re strong you can stand on your own…” ONE TWO THREE FOUR on the snares.  Heavy as fuck on a ballad!  Then there’s Bruce’s acoustic solo, another first for Kiss.  The temptation would be to record a ripping electric solo like everyone else.  Bruce wrote and recorded a hook-laden acoustic solo that is as much a part of the song as the chorus.

Those are your three standouts from Hot in the Shade, leaving 12 more that don’t hit the same bar.

Of the remaining 12 tracks, Eric Carr’s lead vocal “Little Caesar” is significant.  Making him sing “Beth” on Smashes, Thrashes & Hits was unfair and a cheat.  “Little Caesar” is his “real” lead vocal debut.  Originally written as “Ain’t That Peculiar” (later released on a Kiss box set), the words changed to reflect one of Eric’s nicknames.  He was, after all, a little Italian guy!  The funky “Little Ceasar” was performed entirely by Eric and Bruce Kulick.

US picture CD

Gene’s “Boomerang” (written for Crazy Nights with Bruce) may be noteworthy as the closest Kiss have ever gotten to thrash metal.  Another Gene tune, “Cadillac Dreams” has a horn section and electric slide guitars.  Paul’s “Silver Spoon” is augmented by soulful female backing vocals.  You have to give them credit for stretching out and trying new things, but keeping it rock and roll.

Then there is a slew of filler, stuff that would never be played live nor remembered fondly.  Gene has a number of generic sounding songs, heavy but uninteresting:  “Betrayed”, “Prisoner of Love”, “Love’s a Slap in the Face”, “The Street Giveth and the Street Taketh Away”, and “Somewhere Between Heaven and Hell”.  Paul is also guilty of providing filler material.  “Read My Body” isn’t bad, but sounds like his attempt to re-write “Pour Some Sugar On Me”.  “King of Hearts” and “You Love Me to Hate You” both have good parts here and there, but not quite enough.

As unfocused as Hot in the Shade is, at least it was a step.  Sure, adding horns and slides smacked of Aerosmith.  Going almost-thrash was following, not leading.  Musically, Kiss have never been leaders, but what they do is create their own confections from the ingredients of their best influences.  Hot in the Shade represented a better mixture of  ingredients, just without the discipline to mould them into 10 (just 10, not 15!) good songs.

Today’s rating:

1.5/5 stars

The story of the next three years in Kiss will be explored in a series of reviews on CD singles, live bootlegs, and solo releases.  Don’t miss them!

Original mikeladano.com review:  2012/08/07

RE-REVIEW: KISS – Crazy Nights (1987)

The KISS RE-REVIEW SERIES Part 29 

 – Crazy Nights (1987 Polygram, 1997 Mercury remaster)

Here’s a little song for everybody out there.

It’s a song that is a recurring theme for Kiss in the 1980s.  It’s a down and out song: Asylum failed to live up to commercial hopes and the band only  toured in North America.  Paul Stanley was still firmly in control of Kiss.  His partner Gene Simmons was now a record label mogul.  He signed Loz Netto and House of Lords.  Meanwhile, Paul observed bands like Bon Jovi who once opened for them, now eclipsing their success.

Kiss chose producer Ron Nevison for their next album tentatively titled Who Dares Wins.  Nevison had recently produced big hits for Heart and Ozzy Osbourne, and Kiss aimed to follow along.  The new music was the most commercial they’d written since 1980’s Unmasked.  Big name songwriters participated on all but two songs.  Much to the chagrin of Kiss fans, keyboards were brought on heavily for the sessions.  Paul had been writing on keyboards for the first time.  (In concert, keys were played offstage by Gary Corbett.)

The album was renamed Crazy Nights, preceded by first single and video, “Crazy Crazy Nights”. From the first “Woo!”, it’s far too bright and shiny. It’s one of those “gosh, this is so inspiring!” tunes that you’re embarrassed to like.  “They try to tell us that we don’t belong, but that’s alright, we’re millions strong.”  The awkward change to a higher key at the end is annoying as Paul hits absurd notes.  Bruce Kulick’s guitar playing is exemplary, a showcase of true technical mastery, but not the kind of playing associated with classic Kiss.

A pretty stinky song called “I’ll Fight Hell to Hold You” is a mish-mash of mismatched parts and very high notes.  It inspired my neighbor George to say, “If a song this poor made the album, can you imagine the songs that didn’t?”  Gene wrote about 25 songs for Crazy Nights.  Shudder.  “Bang Bang You” is pretty weak too, keeping things in “park” rather than “drive”.  It’s also the second time Paul referrs to a previous Kiss song in the lyrics.  This time Paul states that he’s gonna “shoot you down with my Love Gun, baby.”  On “Crazy Crazy Nights”, Paul stated that we “Love It Loud”.  Reminding fans of better songs from more nostalgic times?

Bruce Kulick gets a smoking guitar into on Gene’s first track, “No No No”.  Every trick in the book is thrown down in a mere 45 seconds.  The track is a sudden fast thrash into heavier territory.  However it’s track 4, and it’s Gene’s first song?  That’s problem numero uno.  The second issue is Gene’s newfound smooth singing style.  The demonic growl is gone, and Gene adopted a clean voice that does not really sound much like Gene Simmons.  He continues that style on “Hell Or High Water”, a pretty good tune in fact.

Things go a ridiculous extreme on “My Way”, another one of Paul’s “inspirational” tunes.  “I’m gonna talk like I talk, walk like I walk, My Way.”  Sinatra this is not.  What sinks it are the stupidly high notes that Paul hits.  Paul Stanley was simply one of the great voices in rock, bar none.  He could do things that few people this side of Freddie Mercury could do.  But just because you have a car that can go 200 mph doesn’t mean you have to keep it floored.  Save it for when it counts.

Side two commences with another atrocity, “When Your Walls Come Down”, which never would have been in consideration for a better album.  Consider that Eric Carr wrote a number of ideas for this album that weren’t used, like “Dial L For Love”.  That unfinished song had a Van Hagar vibe that was on trend, and potentially better than crap like “When Your Walls Come Down”.

The first Kiss ballad since “I Still Love You” on Creatures of the Night (1982) is “Reason to Live”.  A weak ballad is of little interest, and the music video surprised some by having Bruce Kulick on stage playing damn keyboards!  Paul and his buddy Desmond Child are responsible for a song we’d rather forget.

Simmons returns with a great number called “Good Girl Gone Bad”.  Cliche title aside, this understated dusky prowler has melodic qualities in common with some of Gene’s better material on Unmasked.  Another decent song, Paul’s “Turn On the Night” is a hokey but good enough anthem for the 80s.  It’s co-written by Diane Warren, who later scored it big with a little song called “I Don’t Want To Miss a Thing“.  It will be too bright for some fans, but it’s a tasty pill if you can swallow it.  Paul has always had a way with a chorus.  Bruce’s solo is another standout.  “Turn On the Night” is actually pretty good.  The music video seemed to be a continuation from “Reason to Live”.  The blonde woman that torched Paul’s car seems to be now sabotaging a Kiss concert on a roof top?  I’m very confused.

Crazy Nights ends with a fart, a pretty low-grade Simmons tune named “Thief in the Night”.  On a better produced album like Creatures, a song like this could have smoked the competition.  On a plastic, thin album like Crazy Nights, it completely misses the gut.

It’s probably unfair to lay the blame for Crazy Nights at the feet of Paul Stanley and Ron Nevison.  If Gene wasn’t out trying to discover the next big band, and was actually focused on Kiss, could they have gotten it together?  The fact is that Kiss are at their best when running full steam.  It’s always been a partnership between Paul Stanley and Gene Simmons as the primary writers.  Crazy Nights represents a point at which these partners were working like broken cogs.

It’s a damn shame.

Today’s rating:

1.75/5 stars


Uncle Meat’s rating:

0/5 steaks 

Meat’s slice:  For this Meat’s slice, we include an actual commentary, as Uncle Meat listened to the album in real time.

Uncle Meat:
This first shit tune…sounds like a wrestling entrance.

Mike LeBain:
Totally.
It’s of the time.

UM:
It’s shit.

ML:
You couldn’t even give this 0 steaks.

UM:
It’s Warrant…It’s Poison…It’s shit.

ML:
You’d have to go to rotten ground beef for this.
And that’s…fuck what’s his name…

UM:
And that key change is ridiculous!!!!!!!!!!!! So awful.

ML
…Ron Nevison produced.

UM:
This is shit.

ML:
Enjoy my friend.
It gets pretty silly later.
Wait until you hear My Way.
Mark my words.
Reemember: MY WAY.
I’ll walk like I walk, talk like I talk, My Way…

UM:
If I end up taking a walk and killing a 48 year old Chinese woman…It’s on you my friend.

ML:
I realize that.
It’s right here in permanent Internet records.

UM:
Well…first absolute shit tune is over…and it’s rated dung.

ML:
Second song is worse.

UM:
The shit storm is over Randy…
Oh no it’s not Mr Lahey…because here comes song 2.
I’m using that in my review of this album…

ML:
HAHAHAHAHAH

UM:
I’m so glad I shaved my head two days ago…or I would be lighting my hair on fire.
Bang Bang You…just about to start.
I see it’s a Desmond Child vehicle.
Grrrr
This is so garbage…hot steaming garbage.
I dont know if I can do this whole album.

ML:
HAHAHAHAHA Bang Bang You…
You have to finish it now.

UM:
I hate this.

ML:
You can tell this is the period when Gene wasn’t around anymore.

UM:
My bum is embarrassed for my ears right now.

ML:
You think this is bad, I invite you to play Hot in the Shade.

UM:
OK…fuck man…it’s only song 4 of this one…hold it now.

ML:
I’ll shoot you down with my love gun baby.

UM:
I’m not guaranteeing I’m getting through this one.

ML:
You can’t walk away now.

UM:
And…I might just review the first 4 songs…and say… ok…I’m done…don’t care about the rest…goodbye.
Goodbye.
That would make a point.

ML
Nope you HAVE to play MY WAY.
I need you to hear track 6.

UM:
Who is singing No No No?
Kulick?

ML:
Gene.

UM:
Doesn’t sound like him.

ML:
He doesn’t sound like him on any of the album.

UM:
Oh…ok…he sounds different.

ML:
Nevison forced him to drop his normal voice.

UM:
Passable.

ML:
Barely.

UM:
Kinda reminds me of Skyscraper by David Lee Roth.

ML:
Same era.
Very plastic and keyboardy and samply on the drums.

UM:
Better than the first 3.
Eric carr’s only writing credit.
Does Kulick or Carr sing any tunes?

ML:
Nope just Gene or Paul.
Eric was promised a song and didn’t get one which made him very bitter.
Apparently he stopped speaking to Paul around the next album.

UM:
I mean on any album.

ML
Eric sings two.
He sings Beth on Smashes and Thrashes.
And Little Caesar on Hot in the Shade.
Bruce sings one.
I Walk Alone on Carnival of Souls.

UM:
Ok…that’s weird.

ML:
Funny thing there:
Both guys sang their first original Kiss songs on their LAST Kiss albums.
In Fact Bruce’s song is the last song on his last Kiss album.

UM:
Neat.

ML:
In the current band Eric Singer and Tommy Thayer both have two lead vocals each.

UM:
Hell or High Water is…boring…not offensive like earlier.
Sounds like Tesla.

ML:
But you can hear his voice is smooth not rough.

UM:
I just wrote down one line now in the first minute of My Way.
“Bon Jovi can fuck right the fuck off already”.
Oh man this smells.
It’s like actual runny sharts are oozing throught this speaker.
OK… Reason to Live is on a new shelf of shit. Holy Fuck. Of course…Desmond Fucking Child. What a shit hat.
It sounds like St. Elmos Fire meets Michael Bolton working out in a shit gym.
OK…I’m done it’s off…I can’t do anymore…no fucking way.
Done.

 


Crazy Nights is the last album reissued in the Mercury CD remasters series.  No album more recent than this has been remastered and reissued.

Original mikeladano.com review:  2012/08/04

RE-REVIEW: KISS – Asylum (1985)

The KISS RE-REVIEW SERIES Part 28 

 – Asylum (1985 Polygram, 1997 Mercury remaster)

When we last met our heroes, they were a fractured bunch with differing priorities.  Gene Simmons cut his hair and went to Hollywood.  Paul Stanley was steering the Kiss ship singlehandedly.  They were down a guitar player (Mark St. John) but were fortunate to find his replacement in Bruce Kulick.  Not only was Bruce an old acquaintance (his brother Bob played on a number of Kiss tracks) but he was also just what the band needed.  He added a shot of stability and wrote good material.  He has three writing credits on his first album Asylum, and that was just the beginning.

Paul and Gene produced Asylum, in a similar way to how Animalize was recorded.  As had become routine, Gene wasn’t around to record some of the bass parts in Paul’s songs.  Jean Beauvoir returned to fill in, while Paul also played some bass.  Without Gene fully committed, Asylum was the second Kiss album in a row hobbled by his reduced participation.  Animalize was a huge selling album for Kiss having gone platinum.  Asylum sounds like Paul wanted to duplicate that record.

Eric Carr opens the album with a thunderously memorable drum intro.  Carr didn’t have to try to impress anybody; his drumming brought Kiss to a higher level musically.  His double bass work on “King of the Mountain” would make Lars poo his pants.  For Carr fans, “King of the Mountain” surely must be considered one of his brightest moments.  Fortunately the song also kicks ass.  As one of the Kulick co-writes, the new guitarist impresses immediately.  His soloing style was so much smoother than his predecessor Mark St. John.  He had similar speed and ability but better composition when it comes to solos.  Meanwhile, Paul takes this high octane speed rocker and turns it into a rallying call of encouragement.

I’m gonna climb the mountain,
I’m gonna hit the top,
I wanna go where nobody’s ever been,
I’m never gonna stop.

Who needs Shakespeare when you just need a good shake?  “King of the Mountain” is fuel injection for the bloodstream.

Over to Gene.  “Any Way You Slice It” kicks ass.  He had a habit of barking out his lyrics in the 80s, and “Any Way You Slice It” is very bark-y.  The riff really catches air and takes off.  Back to Paul, and a big single.  “Who Wants to Be Lonely” has a chug and a plaintive chorus.  Paul’s vocal abilities were at a peak, but it sounds like Gene was nowhere near the studio when it was recorded.

There are a lot of contributions from outside songwriters on Asylum, from people such as Desmond Child and Jean Beauvoir.  One of the few songs without them is “Trial By Fire” by Gene and Bruce.  Once again the rhythm is a chug, but this simple little rocker is appealing.  There’s nothing wrong with the chorus, but it has never been played live.  Nor has Paul’s “I’m Alive” which just takes the speed thing to an absurd level for this band.  Kiss isn’t a speed metal band and “I’m Alive” isn’t a memorable song.  “I’m hot enough to give you chills.”  I’ll take your word for it, Paul!

Flip the album and you’ll hear “Love’s a Deadly Weapon”, which both Gene and Paul have a credit on.  This is noteworthy, because the pair hadn’t written anything together on Animalize and only one track on Lick it Up and The Elder each.  That’s all the co-writing credits they had together after the infamous Kiss solo albums.  However, “Love’s a Deadly Weapon” isn’t really a co-write.  It’s one of Gene’s songs, with a title and some words taken from a Paul Stanley demo called “Deadly Weapons”.  Again, Kiss takes the speed level to the absurd.  This ironically renders the song powerless.

Fortunately Paul’s big single “Tears are Falling” brings back the quality.  It was one of the few songs from this era to continue to be played live.  It was kept in the set on the Revenge tour, and had been brought back periodically by the current lineup of the band, even appearing on their last album Kiss Rocks Vegas.  That’s because it has a chorus that goes on for days and days.  Bruce’s guitar solo is one his most memorable, which doesn’t hurt either.

Gene’s “Secretly Cruel” shows off his sleazy side, on a likeable but forgettable album track.  He wrote this one solo, just as Paul did for “Tears are Falling”.  And it’s sleazy from there in.  “Radar for Love” is a Paul/Desmond composition with a groove and a chorus that nails it.

And then it’s “Uh! All Night”.  Yes, “Uh! All Night” is the name of a song.

I’ll confess that when I first heard “Uh! All Night” in 1985, I didn’t know what “Uh!” meant.  I figured it meant “partying” or something.  And there was a period when I really liked this song, but that was over 30 years ago and it sure has worn out its welcome.

Kiss went on tour again, never leaving home territory except for one date in Toronto.  This was a step backwards for the so-called “Hottest Band in the World”.  Asylum wasn’t the hit album that Animalize was.  Money was becoming a problem.  These are problems they aimed to solve next time.

The irony is, although Asylum wasn’t as big as Animalize, song for song it’s probably a better album.

Today’s rating:

3.5/5 stars

To be continued…

Original mikeladano.com review:  2012/08/02

REVIEW: KISS – Demos 1981-1983

The KISS RE-REVIEW SERIES Part 24 New bonus review!

Demos 1981-1983  (Bootleg)

For the first time in my life, I bought a CD that sounded so shitty, I couldn’t even stand to listen to it. I knew that the bootleg CD, Kiss Demos 1981-1983 wasn’t going to sound terrific, because my neighbor George had a version of this on LP way back in the day. I didn’t know it was going to sound this horrid.

Demos 1981-1983 collects some Kiss and assorted tracks, from some very dubious sources.  It sounds like 12th generation cassettes, complete with music bleeding through.  You can actually hear “Tokyo Road” by Bon Jovi bleeding through on track 7.  Enjoy the tape drop-out and inaudible drums too.  There are some interesting bits here, and some useless ones.

You can divide this CD into three sections.  The first six tracks seem to be Vinnie Vincent demos.  They include “Boyz Are Gonna Rock”, which evolved into two separate songs.  The verses became “And on the 8th Day” by Kiss, from the 1983 album Lick It Up.  The choruses became “Boyz Are Gonna Rock” from Vinnie Vincent Invasion’s debut LP.  These demos reportedly feature Vinnie himself on lead vocals, and he does a fine job of it in fact.  Why did he even need a lead singer?  Another curious track is “Back on the Streets” which Ace Frehley was known to play live before his first Frehley’s Comet album.  In fact the Comet band covered it on the tribute album Return of the Comet, and Vinnie put it on the first Invasion album. Finally there is the track listed on the back as “Your Baby”.  This is actually “Baby O” also from Invasion’s debut.

Moving on from the Vincent tracks, there are a few Kiss demos supposedly from The Elder sessions.  These include titles that are probably made up:  “Heaven”, “The Unknown Force” and “Council of the Elder”.  They are accompanied by an instrumental demo of “A World Without Heroes” and the original Frehley version of “Dark Light”, called “Don’t Run”.  These are actually really cool skeletons of tracks.  The one titled “Unknown Force” is a bass-led instrumental, and it has a funky little guitar part that is insanely nifty, but it’s just one idea that needs to be fleshed out.  Then there is “Heaven” which fans today know better as “Carr Jam” (on Kiss’s Revenge) or “Breakout” (on Frehley’s Comet).  Eric Carr wrote this riff for The Elder sessions and though Kiss didn’t use it, Ace did.  “A World Without Heroes” is an instrumental on which you can barely hear guitars.  Finally there is the track called “Council of the Elder” which could be the best of the lot.  It has a Zeppelin-y beginning reminiscent of things like “Thank You”, before it blasts into a cool riff that I don’t recognize from anywhere else.  Only a small part of the song seems to have been used, in “Only You”.

The third chunk of songs focuses on Lick It Up demos, a boring bunch of inaudible crap, all but one snippet called “You”.  It’s just a few chords and a vocal melody idea that Paul and Vinnie came up with, but it’s cool to hear them harmonize.  It’s possible this track evolved into “A Million to One” as the chords are similar.

The most inexcusable inclusion on this CD is “Young & Wreckless” which claims to be a Lick It Up demo with vocals by Vinnie Vincent.  This inclusion is an error that goes all the way back to the vinyl versions of this bootleg that circulated in the 80s.  The immediately obvious issue is that it’s not Vinnie Vincent singing, it’s Brian Vollmer.  That’s because “Young & Wreckless” is a Helix song, and this track is lifted right from their 1984 album Walkin’ the Razor’s Edge!  Like the rest of the CD, it sounds like an 18th generation cassette copy.

This disc is for die-hards only.  What I’d like to see is an official release of the demo tracks from The Elder period, which are great.  Next box set, boys?

1/5 stars

To be continued…

 

RE-REVIEW: KISS – Lick It Up (1983)

The KISS RE-REVIEW SERIES Part 23:

  Lick It Up (1983 Polygram, 1997 Mercury remaster)

On September 18 1983, Kiss publicly unmasked on MTV.  They each appeared with a name tag at a desk and answered questions from the press.  Their first album with their bare faces on the cover was just released on that day:  Lick It Up.  With two non-original members now in the band, and their fortunes fading, it seemed like the best move commercially and artistically.  According to writer Robert V. Conte, the Kiss press conference was overshadowed by an MTV special on Van Halen, broadcast the same evening.

It would be easy for skeptics to dismiss Kiss’ unmasking as a mere stunt, and in many ways they would be right, but it was not a decision made lightly.  Kiss had legitimate fears about how they could carry on without the makeup and costumes.  They came to realize that they could just continue doing what they do – playing their songs live as they always have.

The new album, Lick It Up, was brilliant. It is “exhibit A” in the case of “Did Vinnie Vincent save Kiss?”  With eight out of ten writing credits, all of them great, it certainly appears that Vinnie gave Lick It Up a swift kick in the afterburner.

The stark white cover featured Kiss in their street clothes.  It was a minimalist cover with the only clue to their identities being Gene’s tongue.  In Japan, a full cover obi retained the band in makeup (including Vinnie) until you opened the package and saw the white cover inside.  This led to an urban legend that Japan actually had a rare makeup cover on their edition of Lick It Up.

Strangely enough, even though Lick It Up was Vinnie’s official debut as a Kiss member, He didn’t play the solo on opening salvo “Exciter”.  This was unknown to fans at the time, but “Exciter” was performed by Rick Derringer after Vinnie couldn’t nail the right vibe in the studio.  It was an ominous warning of things to come.

Otherwise, “Exciter” ushered Kiss into the 1980s with a sound that fit.  It had a chunky guitar chug, and killer melodic chorus, and left the sound of the 70s far behind.  Perhaps most importantly, it had no outside writers.  Nothing on Lick It Up required outside writers now that they had Vinnie in the band.

After the blowout opening of “Exciter”, Gene Simmons grinds it down slow with one of his heaviest tracks to date: “Not For the Innocent”.  Gene adapted his singing style to include a Demon scream, and “Not For the Innocent” features lots of it on the outro.  “Not For the Innocent” built on the heavy Kiss of Creatures of the Night and pushed it heavier.

The first single was the successful and surprisingly simple “Lick It Up”.  It’s basically a textbook guitar chug with verses and a chorus – no solo.  It was enough to go top 40 in the UK and Canada and has since become a concert staple.  In fact it’s the only Lick It Up song to remain in the set beyond the 80s, and it’s a pretty good song for what it is.

Simmons returned to the fore on the frenetic “Young and Wasted”, an example of speedy 80s Kiss keeping up with their metal compatriots.  Fortunately, Vincent provided a kicking riff.  Live, “Young and Wasted” was often given to Eric Carr to sing.  The studio version is the one to beat.  Then it was Paul Stanley’s turn in the driver’s seat with “Gimme More”, keeping things rolling in a non-descript top gear.

One of the most interesting tunes on Lick It Up is the side two opener and second single “All Hell’s Breakin’ Loose.”  It was begun as a Zeppelin-y riff by Eric Carr, and finished by all four members – only the second Kiss song ever credited to all four members.  It became, in Eric’s words, a “rock and roll rap song!”  That’s not quite so, though Paul’s talk-singing in the verses evokes the basics of rap.  No worries though; this is one brilliant Kiss song that really deserved more exposure.  One worth buying the album for.

The Simmons-dominated second side of Lick It Up is where most of the treasures are found, but Paul had one more kick at the can.  Paul’s “A Million to One” is an unsung classic.  A defiant Stanley tells an ex that her chances of finding a better lover are “a million to one”.  With such an awesome song backing him, Paul makes a convincing argument.  He hits a homerun with melody and angst.

A trio of Simmons tunes ends Lick It Up as one of Kiss’ heaviest album.  “Fits Like a Glove” is speedy-Kiss again, hyper-caffeinated and playing as fast as they can.  Gene’s barking out the words, chewing them up, spitting them out and taking no prisoners.  Then, he brings it back to a groove on “Dance All Over Your Face”.  It’s a song you might not know, but you should.  Kiss’ deep cuts from the 80s have some rare diamonds, and this is one of them.

The closer was an apocalyptic rocker called “And on the 8th Day” which was based on a Vinnie Vincent demo.  The verses of that demo became “And on the 8th Day”.  The choruses became a later Vinnie Vincent Invasion track called “Boyz Are Gonna Rock”, which we will look at later on.  The two songs share DNA but have little else in common.  The Vincent demo is the kind of speed rocker that dominated Lick It Up.  Meanwhile the Kiss song “And on the 8th Day” has the slow monster plod, a killer riff, and a chorus that goes on for days.  Although it’s never seen the light of a concert stage, it really should have.

Though Vinnie Vincent co-wrote the songs that may or may not have saved Kiss, he was a real problem.  His personality didn’t mesh, and his ego got the better of him.  He couldn’t come to an agreement with Kiss over his contract, and in fact never signed one to become an official Kiss member.  This caused him to be let go at the end of the European Lick It Up tour.

Finding a replacement for Vincent wasn’t easy, and he was re-hired for the American tour, though he still delayed signing a contract.  Issues with Vinnie grew on this tour, as he grabbed more of the spotlight from his bandmates.  Like Ace Frehley before him, Vinnie was given a five minute solo spot, but sometimes Vinnie dragged them out well into overtime.  This caused plenty of tension, especially when he once broke into an impromptu solo leaving the band on stage not sure what to do.  The issue of Vinnie’s contract became a non-issue when he was let go permanently.  The band have had very little good to say about Vinnie Vincent since then, especially when the lawsuits began.  Despite this, Lick It Up was not to be Vinnie’s final collaboration with his former band.

Did Vinnie Vincent save Kiss?  This argument will go on as long as there are Kiss fans to discuss it.  Vinnie certainly did provide Kiss with some grade-A songs, both here and on Creatures of the Night.  However he wasn’t the kind of guitar player they needed, who could play the old stuff authentically and also shred with the new kids.  If Vinnie hadn’t come along, another talented writer would have, and Kiss would have continued.  This doesn’t do anything to discredit Lick It Up, a damn fine “comeback” indeed.

Today’s rating:

5/5 stars


Uncle Meat’s rating:

3.5/5 steaks 

Meat’s slice:  After my scathing review of Creatures of the Night, I wasn’t sure how to approach this Lick It Up Meat’s Slice. I guess I’ll start with March 15, 1984. My buddy Scott Hunter and I went to Maple Leaf Gardens to see Kiss on the Lick it Up tour, with supporting act Accept! This was to be my second Kiss concert, as we were also at Maple Leaf Gardens for the Creatures tour on January 14, 1983. A concert in which we didn’t know until well after that it wasn’t Ace Frehley on guitar…but none other than Vinnie Vincent. Of course Vinnie was on guitar for the Lick it Up tour as well. Great show with openers The Headpins. Before my 15th birthday, I had now seen Kiss twice. I am 47 now and haven’t seen them live since.

Kiss had taken the makeup off between these albums. Years before I remember seeing a People magazine in my grandmother’s bathroom, while taking a shit, that showed Gene Simmons with a bandana over his face just over his nose. Up until now I had not seen any Kiss member without makeup. So there they are on the Lick It Up cover and all I can think is…”Damn…wish they still had makeup at least for that really ugly dude,” (Vinnie).  The title track of the album has become a bit of a Kiss classic and is still a great song. Not a lot of this album is exceptionally great in my opinion, but there are some good gems in there. The best of which I think is “All Hell’s Breakin’ Loose”, which I have always loved and still do. Other than those two songs? The album lies somewhere between Meh and Good for me.

Funny Vinnie story for me though. Many years ago our makeshift band at the time were playing a Christmas assembly at St. David’s High School in Waterloo here. I was standing behind the soundboard as my guitar player was on stage doing a sound check. The sound guy asked my buddy Dave to play a bit to get a starting level. As per usual, Dave went ripping into some heavy metal bullshit soloing. After a few seconds of that I could see the sound guy waving his hands in the air in front of me, and after getting Dave’s attention, says into the microphone at the board, “Okay Vinnie Vincent…Settle down there.”  Always found that kinda defined the Vinnie Vincent Invasion.

Favorite Tracks: “All Hell’s Breakin’ Loose”, “Lick It Up”

Forgettable Tracks: I don’t know about forgettable, but the rest isn’t that memorable.


To be continued…

Original mikeladano.com review:  2012/07/20

 

 

 

 

REVIEW: Tonic – Lemon Parade (1996)

TONIC – Lemon Parade (1996 Polygram)

“If You Could Only See” was both the song the put Tonic on the map, and the one that put the bullet in their career.  If you’re over a certain age, you remember the powerful and tasteful ballad from when it hit the charts in 1997.  I had the album already.  I bought it when it first came out, after reading a glowing review in the local paper and seeing a used copy pop in at the Record Store.  Finding Jack Joseph Puig’s name in the producer credits got my attention too.

Tonic’s debut Lemon Parade is a great sounding CD, thanks to Puig and the richly arranged guitars of Emerson Hart and Jeff Russo.  When the guitars are center stage, all is well.  The opening duo of “Open Up Your Eyes” and “Casual Affair” have the punch that people don’t always associate with Tonic.  These guys could play.  “Casual Affair” in particular has angst and emotion ripping out of those six-strings.  When they get heavy, like on “Wicked Soldier”, there is always something bright and chiming going on with backing guitars.  Check out “Celtic Aggression” for a fine example of their guitar expertise.  Emerson Hart has an emotive voice, whether rocking out or serenading the ballads.

It’s the ballads the people remember, and you have to admit that when you break it down, “If You Could Only See” is a fantastic song.  Layers of chiming, chugging and sliding guitars are right there beneath the core melodies.  On the mandolin-infused “Mountain”, plus “Soldier’s Daughter” and “Lemon Parade”, you can absolutely hear old-tyme southern influences creeping through.  Tonic have traits that sound as if from another era, in many ways.  These are actually quite great songs, largely forgotten because of that one hit.

There are only a few songs that don’t score top marks:  “Thick” (no hooks), “Mr. Golden Deal” & “My Old Man” (both too sleepy).  The rest is pretty solid.

3.5/5 stars