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.
The 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!
I don’t hate it. It has a catchy riff, a good vocal from Geoff Tate, a shredding guitar solo, and it’s not about spitting on people or knives. It sounds modern while still featuring a guitar riff or two. I don’t hate it like I hated, say, Tribe. I’m disappointed that it’s a little faceless and generic sounding.
The problem is that it doesn’t sound like Queensryche. It sounds like a Geoff Tate solo track. Probably the best Geoff Tate solo track that there’s been so far. But just a Geoff Tate solo track.
The blockheaded drums do not sound like the textured complexity of Queensryche. (Sounds like Simon Wright though.)
The piano is distracting, I kept thinking a phone was ringing somewhere in my house. It sounds like, “Hey, we have a keyboard player in our band.”
I love the guitar solo. It’s so tasty and good. Who is this? Kelly? Robert? Neither? What will this sound like when performed live without guest stars?
I don’t know if the mix is worth the brew-ha-ha that’s being made of it. It’s not to my taste personally but it sounds like they had a vision of a heavier than fuck sound and just kind of overdid it.
This track confirms that Tate is still capable of writing good music. It does not confirm that Tate still is capable of writing good Queensryche music. This is his Chinese Democracy. It has a vibe of, “Let’s saturate the song with everything from the biggest sounding drums to the fastest solo to a guy playing piano.” Let’s try anything.
Where the real Queensryche’s song, “Redemption”, sounded unmistakably like Queensryche, Tate’s reeks of contrivances. In the Battle of the Ryches, Round One, the original band comes out on top. Tateryche will have their supporters, but it is clear now that Queensryche is a band sound, not merely a singer.
QUEENSRYCHE – “Redemption” (2013 single from the forthcoming new album Queensryche)
Ever since I first saw the video for “Queen of the Reich” back in, oh, ’84 or around there, I’ve been a fan of this band. I’ve followed them through ups (Operation: Mindcrime) but pretty much abandoned them on the downs (Tribe). As time went on it seemed that former singer Geoff Tate was in command, and his choices of direction or stage show hasn’t always been to my taste, nor that of many fans.
Hiring a new singer this late in the game is very rarely a good move. But it seems fairly obvious that Tate was poisoning his relationship with the band and fans, and it was with relief to me when they finally fired him and moved on. Todd La Torre is completely unknown to me, I had never heard his work with Crimson Glory. The new Queensryche single “Redemption” from their untitled album due in June is the first time I’ve heard any of his original material.
The verdict? It’s pretty much exactly what I expected. It sounds like Queensryche circa Warning through to Mindcrime, but with modern touches. There’s some solid riffing here, but not so much the audio collages of sound that Queensryche tend to do in the studio. La Torre nails the vintage Tate vibe without adding a whole lot to it, right down to the multitracked backing vocals. The track doesn’t expand the Queensryche sound, which is the opposite of what they used to do. In this case I understand the reasons. After a decade of more or less disappointing albums and wandering directions, now is not the time to experiment musically. Queensryche had to return to a vintage sound, as demanded by their fans, and do so authentically. I think they do this authentically by genuinely desiring to play that kind of music right now.
It’s hard to do a simple rating on a song I’ve been waiting for like this. Am I underwhelmed? Slightly. Is that because I got exactly what I expected? Probably. Is it good? Yes. Am I looking forward to the album? Big time.
Disclaimer: I am in a very small minority of fans who love the Q2k album. Most don’t. Many consider it a continuation of the “grungy” sounds of Hear In The Now Frontier, but weaker. That’s not my point of view, so be forewarned. Read on.
Chris DeGarmo’s departure after Hear In The Now Frontier shattered the group, but they decided to soldier on with old friend Kelly Gray (ex-Geoff Tate’s old band Myth, producer of Dokken, Candlebox, Bob Rivers etc.). Gray was a strong writer, but had a completely different style from the melodic DeGarmo. Gray’s sound is more based in heavy riffing, groove, and lots of wah-wah solos. It’s a different Queensryche and change was exactly what this band needed after the terrible Hear In The Now.
Sure, the album title sucks. I wonder if they regret it now? I’m sure they must. Thankfully, the music inside doesn’t suck. Heavy, grooving, riffy, powerful, well recorded…I love this album. The only flaw, and the only reason this doesn’t get five stars from me, is that there is a certain sameness to the songs. Almost all have a similar groove. Yet all are catchy and enjoyable. Truly this is Queenryche at their most “rock” and rock it does!
This remastered edition, like all previous Queensryche remasters, contains liner notes by Geoff Tate and bonus tracks. The liner notes reveal the strife that the band had experienced at the time, largely due to the change in guitar players. Clearly this was not a happy time for the band but the music is only stronger for it. The bonus tracks are cool, my favourite of them being the ballad “Until There Was You”. I was always quite pleased to finally get the live version of “Sacred Ground”, originally only on the Japanese version.
Fave songs:
“Falling Down” – tribal thumping opens this groovy riff rocker
“Sacred Ground” – a droney riff that somehow works within the Queensryche context
“Liquid Sky” – a little more old-school on the riff, but with that same groove
“Breakdown” – sounds a bit too much like “Falling Down”, but is no less powerful
“Burning Man” – the faster side of Queensryche, furious drumming from Rockenfield, simply awesome
“Wot Kinda Man” – the first of the dumb Tate titles conceals a wah-wah infested rocker
“The Right Side Of My Mind” – the most proggy and the most old-school ‘Ryche
Bad lyrical moment: “Like electrical shock-waves in the sky.” Yikes!
Dull song: “When The Rain Comes”. It’s not a terrible song, just a bit too slow without building into anything memorable.
I mentioned the bonus tracks. “Howl” is the first song, very similar to the heavier rocking songs on Q2k. You can see why it was left off initially, as the album is already loaded with songs like this. “Howl” is just slightly inferior in terms of melody and heaviness. “Until There Was You” is a much better song, and I think it should have been on the album. Indeed, the band chose this song for their anthology, Sign of the Times. It’s a ballad with a great chorus, memorable and strong.
“Sacred Ground”, as mentioned, was the live Japanese bonus track. This is not the same version as the one on Live Evolution, this is an earlier recording. Collectors will be happy that they don’t have to hunt down a Japanese copy. Lastly there’s a single edit of “Breakdown”, chopping a minute out of the song. I wasn’t too fussed to have this one, because I already own all three promo singles from this album, from my record store days. I was given free copies of “Breakdown”, “Falling Down”, and “The Right Side of My Mind”. (There was no edit version of “Falling Down”, but the edit version of “Right Side” is missing from this expanded edition. I was actually given two sets of these, but I sold the other set.)
I’m quite fond of Q2k, and I can honestly say that I haven’t liked any of the albums since then quite as much, not even Mindcrime II which should have been a slam-dunk winner. I do hope that the new Queensryche (with La Torre) will return them to the rocking glory years.
I’m a pack rat. I keep everything. I just dug up this vintage concert review. I wrote this the day after the concert, so memories were fresh! I’ve made some minor cleanups, but otherwise this is completely as-is, warts-and-all, somewhat embarrassing and a bit too long winded. For what it’s worth, enjoy! You might never find a more detailed write-up of the Promised Land tour!
QUEENSRYCHE / TYPE O NEGATIVE – Toronto Ontario, July 27, 1995, Molson Amphitheatre
(written by Mike Ladano, on July 28 1995, never published)
On July 27 1995, Queensryche, possibly the only great progressive rock band that is still progressing, conquered the Molson Amphitheatre in triumph. The road has been long and hard for these boys, they put out their first vinyl in 1983. Despite all the changes in rock today, Queensryche came out and put on one high-tech wonder of a show that rocked and stimulated.
The band opened with the taped intro of “9:28 am”, the opening track of the Promised Land CD. Their stage was bare, except for two platforms, a keyboard and a drum kit. The drum kit was encased in plexiglass, which seemed unusual at the time. [I know now that this was to keep the drums from bleeding into other microphones on stage.] One could pick out dozens of lasers, lights and effects just waiting to be used. Behind the stage were two monstrous projection screens, much like the band used on the Empire tour.
After the intro, Chris DeGarmo, Michael Wilton, Eddie Jackson and Scott Rockenfield roared onto the stage with “I Am I” which was accompanied by a video of Geoff Tate wandering though a desert encountering all sorts of strange mirages based on the lies of the American Dream. Then the Tatemeister himself appeared on stage, wearing suit and tie, and being hounded by a half dozen journalists harassing him all over the stage. It was, of course, all part of the show.
The band segued from there straight into “Damaged”, just as they do on record. The press ripped off Tate’s suit, leaving him in a pair of bicycle shorts. The band continued to rage through this song, complete with distorted vocal effects from the album.
The band took a breather there, playing their acoustic hit single “Bridge”, a “Cats In the Cradle” story about Chris DeGarmo’s father. Again, this came with constant bombardment of images on the backing screens. It was extremely difficult to stay focused on any one thing on stage, however, Geoff Tate is a very animated frontman; moving and contorting about, acting out his words, while he and the video screens fight for attention.
From here, the band took a trip down memory lane that I’ll not soon forget. Upon entering, I said I wanted to hear old obscure Queensryche. I wanted to hear “Neue Regel” and “NM 156”. The band went right into those songs, as well as “Screaming In Digital” from Rage For Order. For these songs (which used distorted computerized vocals before Trent Reznor had even envisioned such a thing), Tate sang like a computer or a Dalek from Dr. Who. Then, when a burst of power was needed, the distortion would come off, and Tate would rip his lungs out with vocals from hell.
Geoff Tate’s voice was stronger here than the way I remembered it from the video footage of the Empire tour, which was nice to see. He did falter, especially on those incredible highs, but this was also refreshing: It meant he was not relying on backing tapes. The entire band played well, never straying too far from their recorded album parts, but just enough for there to be an audible difference.
“My Global Mind”, a song about the information superhighway and the artificial ties it makes between nations, contained some disturbing film footage: Saddam Hussein, and children starving in Africa.
I always said Scott Rockenfield was Queensryche’s version of Rush’s Neil Peart, and last night he proved this. With his hair shorn, and receding hairline revealed, he now not only sounds like Peart but looks like Peart! Encased behind the plexiglass, he played with precision and power, even more so than on the album. Chris DeGarmo had also cut his hair short(er) which was disappointing. He used to have Godlike hair!
The band kicked into overdrive, playing tunes from the landmark Operation: Mindcrime album. Their heaviest material came on even heavier live, with more power in the bass, drums and vocals. From that album, they played in sequence: “I Remember Now” (a taped intro with the same cartoon video footage that they used on the last tour), “Anarchy-X”, “Revolution Calling”, “Operation: Mindcrime”, “Spreading the Disease” (Geoff Tate sticks microphone in his pants and makes interesting movements), “The Mission”, and to close off the Mindcrime portion, “Eyes of a Stranger”. For this conceptual section, Tate came out dressed as the album’s protagonist Nikki, in leather pants and jacket, shedding the shorts.
“Empire”, which came across as brutally heavy live, was accompanied by the drug-dealing video footage from their MTV video, but with added stuff as well, which made it more fun to watch.
Queensryche played the entire Promised Land album from start to finish [but not in sequence] which came as a surprise to everyone. What came as even more of a surprise was how well this densely layered recording came off, live.
The title track, “Promised Land”, was most interesting. As a film played of Tate and his family buying a home (and of course not being able to afford it), the roadies ripped apart the stage and set up something else in darkness. Then, the lights came on. On stage was now a bar, a few tables with a ton of patrons (roadies and the drummer [Johnny Kelly] from Type O Negative), and a tiny little stage off to the side, where a second drum kit now sat.
The band walked through the bar dressed in matching suits, just like any lounge act. They played some piano-based barroom jazz number until, now assembled on that tiny postage stamp sized stage, they rumbled into “Promised Land”. Tate sat at the bar, wearing pink shirt and beige pants (matching his get-up from the video footage), singing this song of disillusion. This was also the first live appearance of his saxophone. Just like on the album, he would play sax breaks in between verses.
Although this is one of the most serious songs you would ever want to hear, this was the last show of the tour, and it was time for the road crew to cut loose with some comedy. One of the bar patrons slow-danced center stage with a blow-up doll through the entire 8 minute song!
The videos came back on as the bar set was torn down, and again replaced with the plastic-encased drum kit. The band rumbled into “Disconnected”, with more saxophone.
Before “Out of Mind”, Tate began with a speech about people who might be viewed as different. “You…your hair’s not the right length. And your hair’s just…not the right colour. What would you do if one day, those men in white coats came knocking on your door?”
From behind, a butt-ugly roadie dressed as a nurse in a yellow wig put Tate into a wheelchair. (Normally, an actress plays the nurse, but like I said, this was closing night!) Tate sang the song from the chair, using a mirror as a prop. He would sing into the mirror while a hidden camera filmed his reflection, and projected it onto the big screens.
The band closed their set with a predictable final tune. Of course, it had to be “Silent Lucidity”. For this song, five large transparent curtains came down on stage, concealing the drums and Chris DeGarmo. Suddenly, laser projectors came on, and presented amazing dream-like images onto those curtains, giving the illusion that they were suspended in air.
The crowd, as expected, went absolutely bonkers for this song, singing along to every word. Bowing, Queensryche left the stage in triumph….
…And returned with their early classic, “Take Hold Of the Flame” from their very first full-length album, The Warning. Of course, this went over amazingly. There were some diehard fans in this audience who knew the words to even the most obscure music that Queensryche could throw at them.
Queensryche ended their encore with perhaps the greatest song they have ever written: “Someone Else?” Chris DeGarmo played piano, Michael Wilton played some quiet backing guitar, and Scott Rockenfield added some cymbals. It was hard not to be blown away by Tate’s extremely emotional voice during this piece. If anything, Tate is even more emotional live than on record.
And that was the end, the band finally leaving in triumph, for real this time.
According to some in the audience, Queensryche’s stage show topped Pink Floyd. Believe it. This was, by far, the greatest rock show I have ever seen. I can’t imagine anyone, even Queensryche themselves, topping this. This was not heavy metal: This was theatre, and it was so fucking refreshing to see in this back-to-basics era of grunge blockheads like Pearl Jam and Nirvana.
All hail the mighty Queen of the Reich.
We missed the first few tracks from openers Type O Negative, but we could hear them just fine while eating. They opened with “Blood and Fire” from their new album, Bloody Kisses. We caught them halfway into the second tune, the incredible “Christian Woman”. They then played an older tune about suicide [title long forgotten]. Said vocalist Peter Steele: “This is a song about suicide, which we fully recommend. I know when I get old and my body is no longer useful to society, I am going to throw myself off a building, and hopefully land on someone I hate.” Gotta love them Type O Guys. [Sadly, Peter Steele never had the chance to get old.]
They played only two more songs, “Too Late: Frozen” and of course “Black No. 1 (Little Miss Scare-All)”. Speaking of scary, these guys were not all that pleasant to look at. Josh Silver, the keyboard player, has got to be the ugliest son of a bitch on the face of the Earth. Peter Steele looks like he sleeps in a coffin. Musically however, these guys were better live than on album. On record, they come across somewhat wimpy. Live, they are heavier and more energized.
What can you say about a guy who’s already had two lineup changes before his new “Queensryche” has even played a single gig? As usual, I’ll let Geoff say it all…
GEOFF TATE – GT EPK (2012)
EPK: “Electronic Press Kit”, something an artist releases to the media to promote themselves. See above.
Although this has been out for months, it was only recently that Uncle Meat brought it to my attention. While he was over recording our most recent video, he said to me, “LeBrain, you have to see the Tate video. This thing is ridiculous.”
So I watched. And I laughed.
Cheesey? Check.
“Oh yeah. I love my job.”
Pretentious? Check.
“I guess I’m an experience junkie.”
Trying to look cool? Check.
“I usually take a couple of motorcycles on tour with me…ride between cities.”
Stuff nobody cares about? Check.
“Oh there’s my beautiful wife, Susan.”
Nothing in here about spitting at drummers, getting in fights, or carrying bladed weapons though! Do you want to see something really funny? Skip ahead in the video to 2:38.
“Oh, wait, watch this.”
And then he does this lame “jump”. I mean, if he was David Lee Roth and did that cool spiral kick thing, that would something worth waiting and watching for. Not…whatever that was at 2:38.
Don’t take it from me though! Here’s some quotes from my esteemed Sausagefest colleagues.
Grant: “Got about three minutes in before vomiting all over my keyboard. The ‘Two Girls One Cup’ of personal biographies.”
Scottie: “WTF was that…”
Iron Tom Sharpe: “Imagine what that cock seepage would be like if he was still good (and relevant) and they hadn’t sucked for the last 15 years…Nothing is sadder than seeing your heroes as they really are…”
Dave: “He was always a cheeseball. The guys around him simply obscured that.”
Meat: “Music’s latest train wreck. So awful you just can’t look away.”
In 2012, I posted 493 articles. I did 157 chapters in a continuing series of Record Store Tales which has been extremely satisfying. The rest have been a series of reviews, and rants! Very popular was my series ofKiss reviews(53 of them!), when I covered every Kiss album in sequence. Currently, I’m finishing up my series of Iron Maiden reviews(42 so far in a series of 45), covering every album and rarity that I have access to. It’s been a blast!
2.The many Guest Shots (10 so far!) from contributors such as Tommy Morais, Statham, T-Rev, Mrs. LeBrain and Uncle Meat. It’s been a pleasure to read and publish your work, gentlepersons. Keep sending me stuff!
3.Record Store Excursion 2012, and the resulting video. I love making videos, and this was a blast. At last check, it’s had almost 200 hits (194 to be exact) including some of the people at the stores that we reported on!
Thanks to all the readers out there who’ve made 2012 so much fun here at LeBrain’s Blog. Let’s kick 2013 into overdrive.
It’s easy to think back just one year and remember how we couldn’t wait to see if the new Van Halen would be a triumph or disaster. Now it’s the end of the year once again, and as long as the world doesn’t end on December 21, there are some cool releases lined up for the new year.
What are you most excited for? Is there something in particular that you KNOW you’ll be buying before you hear a single note?
I have five must-buys in 2013. Here’s my list.
5. QUEENSRYCHE
This could end up being a total disaster. Replacing a beloved (albeit knife-weilding) original frontman with a relative unknown is a huge risk. Kudos to the band for trying, I’ll play along. The key will be to walk a fine line between avoiding a retread of the past, and reminding fans how good they used to be. Not an easy task. Will Todd La Torre be up for it? Time will tell.
4. MOTLEY CRUE
Nikki has said the band is writing music to follow the lacklustre single “Sex”. They’ve got tour dates with Kiss lined up in the new year. I’ll admit I’m actually not that excited about a new Motley release, but I have been faithfully following this band through ups and downs through their entire career. I even bought New Tattoo!
3. VOIVOD – Target Earth
This one has a confirmed release date of January 22. Although some may say that the idea of a new Voivod album without the late guitarist Piggy is sacrilege, life goes on. This is the first album in over two decades with Blackie on bass. From what I’ve heard of the first single, “Kluskap O’Kom”, it does sound like Voivod. I’ll be supporting the boys in 2013, count on reading my review in the new year.
2. BLACK SABBATH
Some might say that the idea of an “original” Sabbath album without Bill Ward is sacrilege! Hell, I might be one of them! But I love this band, and I have to have faith that the combined might of Sabbath plus Rick Rubin will produce something worthwhile. Will “Scary Dreams” be on there? I sure hope so. First album with Tommy Clufetos on drums, a much more metronomic drummer, so I wonder if Sabbath can capture that loose vibe of the precious first 8.
1. DEEP PURPLE
Confirmed for an April 26 release. Confirmed that Bob Ezrin is producing. Confirmed song titles: “Out Of Hand,” “Hell To Pay,” “Weirdistan,” “Uncommon Man” and “Above and Beyond.” “Above and Beyond” is a tribute to late organist Jon Lord, who passed away far too soon. “Weirdistan”? I love it. That title can only come from Ian Gillan. Astoundingly this is the fifth album with Steve Morse and third with Don Airey. And some said they’d never last without Blackmore! I will most definitely be pre-ordering whatever cool editions the band has lined up.
What are you psyched about in the new year? I want to hear from you.
“Actually, it’s not very popular at all. It’s funny actually a lot of people don’t know about that song. A lot of people don’t care about that song. It’s an early song that was written and it shows. It’s funny the reaction you get because it’s a lot of blank stares. In fact it’s the same stare you get when you play a new song that nobody’s heard before. People just aren’t that familiar with it. Given there are a few hardcore fans that might know that song or like that song and know what it is but the majority of the people there don’t. So it’s not really a song that I enjoy singing strictly because lyrically its pretty adolescent.”
I wish Geoff would just shut up.
This crowd didn’t seem to mind the song (that Geoff didn’t write):
In alphabetical order, here’s Part 3: 88 albums that meant the world to me in the 1990′s but never got the respect I felt they deserved.
King’s X – Faith Hope Love (most KX discs didn’t get the attention they deserved!)
King’s X – Dogman
King’s X – Ear Candy
King’s X – Tape Head
Kiss – Carnival of Souls (while you can’t argue it wasn’t a sellout, it sure wasn’t wimpy!)
Leadfoot – Bring It On (Karl Agell and Phil Swisher ex-COC)
Marillion – Brave (what a brave, brave album)
Marillion – Radiation (a lot of people don’t like this one, but I consider it a highlight for them)
Duff McKagan – Believe In Me (diverse, fun and pissed off)
Kim Mitchell – Aural Fixations (a little soft, but Kim in the 1990’s was scarce indeed)
Kim Mitchell – Kimosabe
Motley Crue – Motley Crue (they were better without Vince, honestly)
Vince Neil – Exposed (…and Vince wasn’t doing too badly himself)
Ozzy Osbourne – Ozzmosis (it sold by the buckets, but I think today it’s ignored which is a shame)
Poison – Native Tongue (Ritchie Kotzen took them to a new level of maturity and virtuosity)
Pride & Glory – Pride & Glory (Zakk Wykde’s first album without Ozzy, and one of the best)
Queen – Innuendo (in North America, most of what Queen did went ignored before Freddie passed)
Queensryche – Promised Land (spacey and mature)
Queensryche – Q2k (riffy)
Quiet Riot – Terrified (the only thing they’ve done since the 80’s worth playing)
David Lee Roth – Your Filthy Little Mouth (I didn’t need to hear Dave do reggae but it ain’t bad)
David Lee Roth – DLR Band (John 5 on lead guitar…crank it up)
The 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.
Canada
United States
United Kingdom
Brazil
Finland
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