rarities

REVIEW: Dream Theater – Master of Puppets (2009)

DREAM THEATER – Master of Puppets (2009 Yste Jam)

From Dream Theater’s acclaimed self-released series of covers albums, we have before us Master of Puppets.  This was recorded in Barcelona back in 2002.  Just as advertised, it’s Dream Theater doing the whole album live, in sequence, and pretty authentically too.

Dream Theater are a very different band from Metallica.  This is bound to be interesting.

The most obvious difference is that Metallica have two guitar players, while Dream Theater has one and a keyboard player.  On this, Jordan Rudess does aggressive keyboard solos where Kirk Hammett may have laid down one with his axe.  He also plays the acoustic parts on keys.  From time to time, you forget it’s a keyboard.  In short, Rudess turns the prospect of Metallica with keyboards into a lesson on forgetting your assumptions about keyboards!

James LaBrie fits the silhouette of a young James Hetfield.  He sings a convincing Metallica cover indeed!  He cuts loose and goes for it.  Metallica requires a gritty singer, going for it 110%.  LaBrie handles it.  For Dream Theater, doing these cover albums (from a wide variety of bands in fact) must be a lot of fun.  They would have the chance to sing and play in a way that isn’t the usual for them.  Guitarist John Petrucci does not often get to riff on something for five minutes straight like Metallica do.

Lars haters are naturally going to ask “What do Metallica songs sound like with a real drummer?”  Hey, I’m no Lars hater.  (He can play better than I can…)  But in answer to that question I can only respond “fucking awesome”.

Dream Theater cover Master of Puppets without drawing attention to themselves.  Mike Portnoy does not grandstand and overplay.  Nobody does.  If the effort was to do an authentic version of Puppets, as close to note for note as possible, then I say mission accomplished.  Beat for beat, this is stunningly true to the original album.  The keyboards are the most obvious deviation, and that’s minor.  In anything, Dream Theater draw attention to the fact that these are great heavy metal songs.  Are they Metallica’s best-ever set of songs?  Some prefer Kill ‘Em All, some Ride the Lightning.  Any way you slice it, Puppets is metal immortal, a very important record in anyone’s collection.  Dream Theater painstakingly learned the album front to back so they could play it live for a few thousand people.  They did that because it’s a great album on any day.

Dream Theater’s live covers albums (and many, many other releases) can be found on their own Ytse Jam Records website.  Check out the multitude of stuff available (though some are out of print now) and try not to drain your bank accounts.

5/5 stars

 

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RE-REVIEW: KISS – Animalize Live Uncensored (2 CD broadcast)

The KISS RE-REVIEW SERIES Part 26

 

 – Animalize Live Uncensored (from 4 CD set Radio Waves 1974-1988) (2015 American Icons broadcast release)

The Animalize tour was the most successful that Kiss had done since the original lineup.  It was an exciting stage show including a finale with the band playing on a levitating platform over the stage.  It was logical to film the Detroit concert, returning to the Cobo Hall where much of Kiss Alive! was forged in 1975.  It had been a long time since Kiss released anything live.  The sequel album Alive II came in 1977, and then Kiss underwent radical upheaval and change, as we have documented through this series.   In the 1970s there was a pattern:  Three studio albums and then a live album.  Animalize was the sixth studio album since Alive II with no Alive III on the horizon.

Fans had their own theories as to why Alive III never materialized when due, but it likely has a lot to do with the lineup changes, shifts in direction, and fading fortunes.  These events all struck right around the time when the third live album would have been appropriate, but as Kiss replaced members and took off the makeup, they had to re-establish themselves as a valid, current entity not dependant on past glories.

The Animalize Cobo Hall concert that was filmed was released in 1985 as the home video, Animalize Live Uncensored.  For an entire generation of Kiss fans, Animalize Live Uncensored was our own Alive III.  You could break down KISStory up to this point into three distinct eras as seen in the chart below.
Kiss had a whole new generation of fans, the MTV generation, who associated the makeup with ancient history.  We didn’t have our own Kiss Alive.  Without one, we made Animalize Live Uncensored into our unofficial Alive III.

Kiss were introducing yet another guitar player to the fans, but Bruce Kulick was fitting in great.  Animalize Live Uncensored gave the fans at home a chance to check out his interpretations of new and old Kiss classics.  He gave the Mark St. John tracks a smoother soloing style with more emphasis on hooky licks.  The threw on tons of the flash that was in vogue at the time, but he didn’t showboat.  He did exactly what the bosses (Paul and Gene) wanted, and he did it well enough to win over fans and keep the gig.

The Kiss of the 80s were way, way faster than the Kiss of the 70s.  Eric Carr could play things that Peter Criss couldn’t, and speed was in fashion.  Even old songs like “Cold Gin” and “Detroit Rock City” were sped up and 80s-ized.  The fast stuff from their 80s albums, like “Fits Like a Glove” and “Young and Wasted” are done up even faster.  Lots of songs by the original band such as “Shout it Out Loud”, “Christine Sixteen”, “Firehouse”, “Strutter” and many more were dropped in favour of new ones.  “Under the Gun”, “Thrills in the Night” and “Heaven’s on Fire” were the newest, while plenty of songs from Lick it Up and Creatures were also retained.  Using the chart above for reference, only five Kiss songs from the first two eras combined were included.  The third era, never before represented in live form, gets ten tracks.  The rest of the space is taken up by solos:  Paul Stanley (guitar), Gene Simmons (bass) and Eric Carr (drums).  There is no Bruce Kulick solo.  As you have probably surmised, a Paul Stanley feature solo is as basic as they get, with Gene’s only a modicum more memorable.  Eric Carr’s is fun and flashy — more so on video.

One big highlight of Animalize Live Uncensored is Eric Carr’s lead vocal debut on a Kiss release.  The Fox was given “Young and Wasted” from Lick It Up to sing, in addition to Peter Criss’ part in “Black Diamond”.  And so Kiss fans began a long and painful wait to hear him sing something on a Kiss studio album.

For dyed in the wool Kiss fans, Animalize Live Uncensored is universally remembered for mainly one thing:  that is Paul Stanley’s epic song introductions.  “Love Gun” is the most legendary, a tale of Paul “partying” too much and having to go to the doctor to get himself checked out.  The nurse decides to “start this examination just a little bit early” and asks Paul to remove his pants…where she discovers his (wait for it) “LOVE GUN”!  There are so many great Paul intros on this video that it’s worth checking out for them alone.  Full visuals help.

But what about a CD release, for that generation of fans for whom this is their Alive III?  There are options.  None are perfect.  In fact, there isn’t even a DVD version.  There are only semi-official looking bootlegs and the old original VHS.  For CDs, you must go with a radio broadcast release, and none are perfect.  Single disc versions are obviously trimmed for time and usually have 15 tracks including a couple solos.  There is also a two disc broadcast from WLLZ in Detroit which has all 18 songs and all the solos too.  This is available on a quadruple disc set called Radio Waves 1974-1988, released in 2015.*  It even has intros and raps not included on the original Animalize Live VHS release!  “Black Diamond” has a much longer introduction and much of the talking isn’t available elsewhere.  During the encores, they mess around with the traditional “Oh Susannah”.  The other intros and raps, the classic ones, are edited or missing completely!  You just can’t win.

Only one track from this concert has been officially released on LP and CD:  “Heaven’s On Fire”, which was Kiss’ contribution to Ronnie James Dio’s Hear N’ Aid – Stars album in 1986.  Kiss completists will want to make sure they have that one.

One could meticulously paste in all of Paul Stanley’s missing and edited stage raps, and add them to your tracklist.  It would be bloody time consuming.  You’d have to listen to your compiled creation a few times to justify the time spent putting it together.  But it could be done.  It really is a shame that this broadcast CD is a few intros shy of complete.  The sound is iffy at times too, with a lot of static where there shouldn’t be.  But for the time being, it’s the best we got.

3/5 stars

To be continued…

*CD 1 is Agora Ballroom, previously reviewed in a prior superior edition.  CD 4 is Live at the Ritz 1988, but including the song “Reason to Live” often missing from the broadcast!

Original mikeladano.com review:  2012/08/01

 

 

 

 

 

REVIEW: Alice Cooper – The Life and Crimes of (1999 box set)

ALICE COOPER – The Life and Crimes of Alice Cooper (1999 Rhino 4 CD set)

With the benefit of hindsight, 1999 was way too early for Alice Cooper to be looking back with a comprehensive box set.  His new album Paranormal will be out this month.  He’s been consistently touring and recording.  The picture was different in 1999 though, since Alice had been quietly under the radar for much of the decade and there was no sign of new music coming.

This Rhino box set is pretty comprehensive.  Though there are plenty more rarities out there to get on singles and elsewhere, Rhino served up a very generous selection of them.  Starting in 1966 with singles by The Spiders and The Nazz, Alice’s sound begins to evolve.  Those early bands were 4/5 of the original Alice Cooper group:  only drummer Neal Smith had yet to join.  The early singles are unfocused compared to what Alice was going to do in a couple years.  “Don’t Blow Your Mind” and “Lay Down and Die, Goodbye” (sometimes known as “I’ve Written Home to Mother”) are sloppy psychedelia.  “Hitch Hike” is like rockabilly.  “Why Don’t You Love Me” is late 60s style rock and roll with a nice harmonica part.  It sounds influenced by the Beatles.

A demo version of “Nobody Likes Me” is the first “official” Alice Cooper Group track and it sees the sound veer closer to where they were headed.  It has a sing-song melody that recalls “School’s Out” later on.  A few tracks from Alice’s first two albums (Pretties For You and Easy Action) demonstrate a work in progress.  “Reflected” is an early version of something that would be re-written as “Elected”.  The band was still very psychedelic and not as tight as they would become.

There is a sudden shift, and Alice Cooper emerges as the classic artist we know and love when he hooked up with producer extraordinaire Bob Ezrin.  “Caught in a Dream” (a single edit) and a number of essential tracks from Love It to Death kick the box set right in the ass and it suddenly becomes a very engaging listen, when before it was just…interesting.  A quintet of songs from the next album Killer are just as special, though including “Halo of Flies” would have been appropriate too.

Before heading into the School’s Out material there is a rare demo entitled “Call it Evil”.  A small portion of the music would make it into the the classic West Side Story tribute “Gutter Cat vs. the Jets” (also included), but this is its own song and otherwise unreleased.  The single version of “School’s Out”  is an obvious inclusion, but these two are the only tracks from School’s Out, a baffling set of omissions.  Granted, “School’s Out” plays like a concept album and is tricky to split up for a box set, but it is under-represented here, period.

Billion Dollar Babies is considered a peak of this period, and gets five tracks of its own, all brilliant.  “Elected” is the single version.  “No More Mr. Nice Guy” is a highlight of Alice’s entire career and it still sounds fresh.  Another rarity ensues which is “Slick Black Limousine”, a UK exclusive flexi-disc release.  It sounds more like early Alice Cooper group material, with Alice doing his best Elvis.  The end of the original group was nigh, unfortunately, and Alice’s next album Muscle of Love was noticeably lacking something.  Maybe it’s because Bob Ezrin didn’t produce it, but the band was also on the verge of splitting.  Addictions were hurting them.  They were still making great rock and roll, just not…as great.  “Respect for the Sleepers” is a demo version of “Muscle of Love”, an unreleased track with lyrics inspired by Alice’s “dead drunk friends” (Jimi, Janis, Jim).  There are more songs from Muscle of Love included than there were for School’s Out, which is odd but alright.

At this point, Alice split from the original band.  Then there are a pair of rarities featuring Alice from an obscure rock opera called Flash Fearless Vs. the Zorg Women, Pts. 5 & 6.  Before Queen, there was this Flash Gordon album and Alice’s tracks feature players like John Entwistle, Kenney Jones, Nicky Hopkins, Bill Bruford and Keith Moon as “Long John Silver”.  “I’m Flash” and “Space Pirates” are mere curiosities, but it’s stuff like this that makes buying a box set so much more worth it.  Where else would you hear these tracks?  Both feature Alice’s delicious trademark sneer.

Alice’s solo career really began with 1975’s Welcome to My Nightmare.  He and Bob Ezrin went all-in with an elaborate horror rock concept album featuring a number of classics.  “Welcome to My Nightmare” and “Only Women Bleed” are single versions, and it’s fantastic that the blazing “Escape” was included.  Another concept album, Alice Cooper Goes to Hell, was not as strong.  Only two tracks are included, but both were singles.  “Go to Hell” is a must-have.

The third CD in this box set commences a murky period.  Alice was making albums frequently, but they weren’t as well received and many dwell in obscurity.  Lace and Whiskey was pretty good, and “It’s Hot Tonight” is a great track to start the disc.  Meanwhile, original band members Michael Bruce, Neal Smith and Dennis Dunaway formed the Billion Dollar Babies.  They made one album called Battle Axe, and their cool rock track “I Miss You” is included.  That’s a nice touch, because for the first seven albums those guys were as important as Vincent Furnier (aka Alice Cooper).  Michael Bruce sings, but lead guitarist Glen Buxton was more or less incapacitated by addiction and wasn’t invited.  “Battle Axe” sounds like a natural continuation of the Muscle of Love sound.  A bunch more rarities are incoming:  a torch ballad called “No Time for Tears” (unreleased) and “Because”, the Beatles cover featuring the Bee Gees.  This was from that pretty mediocre Sgt. Peppers tribute album from 1978, so it’s great to be able to get it in a box set.  Alice’s interpretation is creepy, and the Bee Gees are immaculate.

Moving on to his next solo album, Alice changed direction on From the Inside.  He had just gotten out of rehab (an actual mental hospital) and made a concept album with David Foster and Bernie Taupin about the experience.  The title track is included as a single version, and you also get the beautifully campy ballad “How You Gonna See Me Now”.  It was a single too, and its B-side “No Tricks” is also included.  It is a duet with soul singer Betty Wright.  Disc three is generous in rarities.  Another one called “Road Rats” (produced by Todd Rundgren) is a decent rocker from a movie called Roadies.

Alice moved into the 1980s on Flush the Fashion which employed some new wave and punk influences.  Its two best songs, “Clones (We’re All)” and “Pain” are included.  1981 brought Special Forces and more rarities.  “Who Do You Think We Are” is a single version, and “Look at You Over There, Ripping the Sawdust from My Teddy Bear” is a synthy unreleased song pulled last minute from the album.  Then there is “For Britain Only”, the stripped-back rocker from the EP of the same name.  “I Am the Future” is a single version originally from 1982’s Zipper Catches Skin.  Completing this era (sometimes called Alice’s “blackout period”) are a pair of tracks from DaDa (1983).  Alice had moved as far as he would go into the high-tech synthesizer direction, and he soon cleaned up for good.  A couple odds and ends tidy up the tracks from this era.  “Identity Crisises” and “See Me in the Mirror” are previously unreleased songs from the Monster Dog movie (1984) which starred Alice.  These are very low-fi tracks, but “Identity Crisises” is actually pretty cool.

The final track on the third disc is the first one from Alice’s big comeback period.  “Hard Rock Summer” is a fun heavy metal rocker from the Jason Lives soundtrack.  It’s cheesy but also previously unavailable.  The fourth and final CD picks up there, with two more rarities from the same movie.  “He’s Back (The Man Behind the Mask)” is included in demo and movie mix versions.  Onto 1986’s Constrictor LP, you get the enjoyable “Teenage Frankenstein”.  By 1987 Alice was telling us to Raise Your Fist and Yell on “Freedom”.  The excellent “Prince of Darkness” is also from that album, but then there are two more rarities.  Alice cut a re-recording of “Under My Wheels” with Axl Rose, Slash and Izzy Stradlin for the movie The Decline of Western Civilization Part 2: The Metal Years. Unlike many re-recordings, this one is well worth it because hey, it’s Guns N’ fuckin’ Roses.

Alice’s sound got slicker moving into the late 80s. “I Got a Line on You” is a Spirit cover from the movie Iron Eagle II. There is a notable shift towards mainstream hard rock, and this spilled over onto the next album Trash (1989).  This box set has three songs from Trash, but one is the irritatingly bad title track featuring Jon Bon Jovi.  His sound got a little tougher on Hey Stoopid (1991) from which you get a single version of the title track, and “Feed My Frankenstein” (also from Wayne’s World).  The Hendrix cover “Fire” is the last song from this period, which was a B-side.  Unfortunately another B-side called “It Rained All Night” is a superior song, but not included.

Alice took another short break between albums before emerging in 1994 with another critically acclaimed concept album, The Last Temptation.  Alice shed the trappings of the 80s and the album is held in high esteem today as a diverse combination of the 70s and 90s.  Three tracks represent it, but it’s hard not to wish “Side Show” was also included.

The Last Temptation was Alice’s last studio album when this box was released in 1999.  In the meantime, Alice made friends with Rob Zombie who was obviously influenced by the Coop.  They collaborated on a song called “Hands of Death (Burn Baby Burn)” for an X-Files CD.  This box set has the unreleased “Spookshow 2000 Mix”.  The track points in the direction of Alice’s next album Brutal Planet.

This box set is quite an epic journey, with many facets and side roads.  A trip like this needs an appropriate closing, and Rhino did something interesting to do that.  They broke the chronological format they used for the majority of the set, and slid in the acoustic rocker “Is Anyone Home?”.  This was a studio track included on Alice’s 1997 live album A Fistful of Alice.  This serves as the climax, and “Stolen Prayer” from The Last Temptation is the finale.  “Stolen Prayer” is a powerful duet with the late Chris Cornell.  It was always a perfect closer, but now it’s…also sad.

It should be obvious now that The Life and Crimes of Alice Cooper is a worthwhile box set even for fans who own every album.  The wealth of rarities are just a taste, but they certainly scratch a lot of track off of collector’s lists.  Many remain exclusive to this box set.  On top of that, it is simply a good listen, bumpy start aside.

4.5/5 stars

REVIEW: Ozzy Osbourne – Live & Loud (1993 grille cover)

OZZY OSBOURNE – Live & Loud (limited edition 1993 Epic speaker grille edition)

Ozzy Osbourne has done lots and lots of tours since his “No More Tours Tour”.  It seemed special at the time, because we thought Live & Loud was going to be the last live album.   It was not.   What was supposed to be a definitive and indispensable capstone is just another live album, only really notable for its packaging.

Let’s start there.  If you buy this album, don’t buy the remastered edition in the jewel case.  This album didn’t need remastering a couple years later.  Why would it?  Instead search for the original digipack with the metal speaker grille cover.  Finding one in good shape can be a challenge.  Unfortunately, the metal grille is not removable although the VHS release did have a removable grille.  The release also came with two Ozzy “temporary tattoos” on little 2″ x 2″ sheets of paper.  These are the first things to get lost and you might want to consider that you’ll never find them.

Live & Loud scores an A+ for packaging, but gets mediocre grades for the music.  This is patched together from a variety of recordings, and it sounds like a lot of fixing was done after the fact.  It’s bogged down with over-long guitar and drum solos (Zakk Wylde and Randy Castillo) and too much talking.  There is only so much that one needs to be told to “go fucking crazy”.  Ozzy proclaims that he loves us so often that it loses all meaning.  He’s more of a cheerleader than a singer at times, constantly badgering the crowd to get “louder”!  There is also an annoyingly long intro that means nothing without the visual accompaniment that’s supposed to go with it.  I will admit that my buddy Peter and I were amused when Ozzy said “Let me see your fucking cigarette lighters” during “Mr. Crowley”.

On the plus side, this particular lineup of Ozzy’s band was one of his strongest.  Zakk and Randy were joined by bassist Mike Inez who was invited to join Alice in Chains in 1993.  Another plus is the presence of Black Sabbath.  The second to last song is “Black Sabbath”, performed by the original Black Sabbath, at the final show on the tour.  Fans will recall that Sabbath were touring their incredible Dehumanizer album, which frankly blows away Ozzy’s No More Tears.   When Sabbath (then including Tony Iommi, Geezer Butler, Vinny Appice and Ronnie James Dio) were asked to open for Ozzy at his final two concerts, Dio bailed.  He was replaced for those shows by a little known metal singer named Rob Halford.  At the last of the two shows, the original Black Sabbath featuring Ozzy Osbourne, Tony Iommi, Geezer Butler and Bill Ward reunited to play a three song set.  It was their first time together since Live Aid in 1985.

Unfortunately, a couple tracks aside, Live & Loud is flat and uninspired.  “Black Sabbath” isn’t brilliant but at least it’s historic.  All the important songs are there, with maybe a few too many from No More Tears.  There is one surprise in “Changes”, the old Sabbath classic.  This is performed by Zakk on piano and Ozzy.  It’s brilliant and was used as the single.  “Mr. Crowley”, “Shot in the Dark” and “Desire” are pretty good, but drummer Randy Castillo was killing it.  He was the perfect drummer for that band.  Rest in peace Randy.

Live & Loud is for the serious fan only, who will really want to get the grille cover.  Live & Loud is not consistent enough for the average listener and gets bogged down in spots making it a very long run.

2/5 stars

 

REVIEW: Iron Maiden – Another Live (1981 bootleg)

IRON MAIDEN – Another Live (1981 recording, 1990 CD release by Metal Memory)

Maiden Japan is legendary.  It is a crucial EP for all Iron Maiden fans, but also a good solid find for any metal fan in general.  It was recorded May 23 1981 in Nagoya Japan.   The live bootleg that we are looking at today also claims to be from that same show.  That claim appears to be bogus.  An A/B test on the track “Remember Tomorrow” reveals they are definitely not the same vocal performance.  Maybe this CD is taken from a show on the same tour, such as Osaka or Tokyo.

Regardless of the whens and wherefores, Another Live presents a rare treat indeed, a live CD featuring Paul DiAnno on lead vocals.  It is the Killers lineup:  Paul, Steve Harris, Dave Murray, Adrian Smith and Clive Burr.  A young Iron Maiden just before hitting the crest of their wave…there isn’t much out there officially released besides Maiden Japan.  There are a number of tracks on the rare and expensive box set Eddie’s Archive, and a handful B-sides.  For that reason, if you stumble upon Another Live, you may as well go for it!

The audio is surprisingly great for a boot, almost official quality, except scratchy in some places.  It might be a rip from a previous vinyl edition.  Unfortunately the set (wherever it was) has a few songs chopped out for time, and therefore you’re missing some of the best.  “Running Free”, “Prowler” and “Phantom of the Opera” would have been nice to have.  On the other hand there is the track “Another Life”.  You will not find any official live versions of it with Paul singing.  The only officially released ones have Bruce:  one from Beast Over Hammersmith and one from “The Trooper” 2005 7″ single.  Then we have “Twilight Zone” which you won’t find in live audio form anywhere officially.  There is definite value here in the way of rarer songs.

The performance is stellar.  A serious highlight is Dave Murray’s guitar solo on “Strange World”.  Each member has the energy of a teenager and they just blast through.  The only speedbumps really are the awkward edits between songs.  They are not done well and it’s too bad because the CD is only 51 minutes.  However if Another Live did come from an earlier vinyl bootleg, that would explain the shorter running time.

Get it if you find it.  You may not play it often, but your Maiden collection will be that much cooler.

3.5/5 stars

 

REVIEW: Sammy Hagar – “Give to Live” (12″ single)

SAMMY HAGAR – “Give to Live” (1987 Geffen 12″ single)

Sammy Hagar released his solo album I Never Said Goodbye in 1987, right when he was still in Van Halen.  It was co-produced by Sammy and Eddier himself.  It was a mixed bag, with some killer tunes and a few things that were far too wimpy.  A couple singles were released, and “Give to Live” was the best.  As a power ballad, it probably could have suited any of the Van Hagar albums except For Unlawful Carnal Knowledge.  That’s Eddie on bass, by the way, and listen to how great he is.  No surprise, right?  When you’re as great at music as Eddie Van Halen is, it must be hard for other musicians to cut it in his eyes.  (Cough cough Michael Anthony cough.)

Also on the A-side is album opener “When the Hammer Falls”, an OK rock track.  As discussed in the album review for I Never Said Goodbye, “When the Hammer Falls” has a good riff but not much of a chorus.  That’s too bad since it was one of the hardest rockers on the LP.  (And just listen to Eddie’s bass…again!)  you can’t hit a homerun every time, though there’s nothing here to be embarrassed of.

If you buy the single, there’s no point unless you get the 12″ with the non-album bonus track.  On the B-side you will find the full-length version of “Standin’ at the Same Old Crossroads”, which was only 1:46 on album.  It served as an introduction to the song “Privacy”, but on this single it’s unedited.  This is a real treat for fans of Sammy’s underappreciated guitar playing.  The song is just Sammy and an electric slide guitar, bluesing it up.  The intro is longer and there’s a lot more playing than the album version.  Stuff like this is the reason to have B-sides and buy singles in the first place.

3.5/5 stars

RE-REVIEW: KISS – Killers (1982 import)

The KISS RE-REVIEW SERIES Part 21:  

  Killers (1982 Casablanca, German and Japanese versions)

No matter how you feel about Kiss’s concept album Music From the Elder, it was a commercial dud.  It was Kiss’ first serious flop as a band since hitting the big time in 1975 with Kiss Alive!  More significantly, it was part of a trend:  Kiss chaos.  Since the solo albums, Kiss were fragmented.  The band weren’t playing on all the songs anymore, and members were leaving.  They had strayed from their music roots and become a comic book novelty act.  The Elder was not so much an album that people didn’t “get”, but one they didn’t care to “get”.  Fans were moving on.

The European record label, Phonogram, was in damage control mode.  They drew up plans to issue an album consisting of new and old songs; a compilation to put some money back in the coffers.  They weren’t mucking around.  They wanted a batch of new rock songs, but Kiss had effectively become a trio.  Ace Frehley hadn’t left the band officially, but he was no longer involved creatively.  Filling the guitar slot again was Bob Kulick.  As he did on Kiss Alive II, Bob played lead guitar on the new songs.  A 1988 book called Kiss: Still on Fire also named Ratt’s Robbin Crosby as a guitar player on the new songs, though this is a claim not backed up in any other source.  Paul provided the new songs, written with old and new friends:  Mikel Japp, Adam Mitchell, and some Canadian guy named Bryan something.  Bryan Adams?  Cuts like a knife indeed!  Adams co-wrote the lethal “Down On Your Knees”, and it wouldn’t be his last songwriting credit with Kiss either.

The best new tune in the batch was called “Nowhere to Run”, and it was one of the rockers that Kiss were working on before they decided to do The Elder instead. The sheer quality of this Stanley-penned underdog really supports the theory that doing The Elder was a mistake.  “Nowhere to Run” was classic Stanley, as good as anything on his solo album and exactly the kind of song that Kiss should have been doing.  In an alternate universe where The Elder never came out, what could have happened to Kiss?  Unfortunately the new compilation called Kiss Killers was never released in North America.   “Nowhere to Run” could do very little to change Kiss’ fortunes without being released in their native country.

The second-finest of the new songs is a little ditty called “I’m a Legend Tonight”.  Paul has somewhat disowned these songs since, but it is really hard to understand why.  This is a hard hitting Paul rocker, as only Paul can do.  It’s all innuendo and hot guitar licks.  The riff is simple and hooky, while Kulick plays for all he’s worth.  No longer was Bob being told to “play like Ace”.  His signature scorch really makes these new songs sound like a continuation of the Paul Stanley solo album.  Then there is “Down on Your Knees”, the one with Bryan Adams’ fingerprints on it.  It’s hard to tell, although it’s not outside the Adams ballpark.  It’s a sleazy rocker, spare and sounding great.  The new tracks were produced by Michael James Jackson, who finally captured Eric Carr’s drums properly.  Bob Ezrin buried them under mud on The Elder.  Kiss Killers sounds more like the real Eric Carr debut album.  The last of the new songs, “Partners in Crime”, is the weakest of the four.  Paul takes it down to a slow sexy grind, but “Partners in Crime” lacks the charisma of the other three.

As far as the new songs could be considered a “comeback”, it’s close but no cigar.  There’s no discernable Demon.  Where is Gene Simmons?  The lack of any audible Simmons vocals makes you question whether he even played bass on the new songs.  Regardless, Kiss is about a balance between Gene and Paul, and Killers represents the first heavy skew towards Paul.

 

The hits on the record make for great listening.  Most of the key bases are covered:  “Detroit Rock City”, “Shout it Out Loud”, “Love Gun”, “God of Thunder” and even “I Was Made for Lovin’ You”.  There are no Peter Criss songs, and the only Frehley is “Cold Gin”, which Gene sings.  The only ballad is “Sure Know Something”, a minor hit in Germany where this album was issued.  In a cool touch, the record closes with the “live” (quotation marks!) version of “Rock and Roll all Nite” that made them superstars.  It is the more well known, and arguably superior version.  (Some of the other tracks are edits or single versions.*)

Kiss’ very first Japanese bonus tracks were on Killers.  The Japanese version is an even better listen.  They put a bonus track in the second-to-last position on each side:  “Shandi” (massive hit in Australia) and “Escape From the Island” (previously unreleased in Japan — it wasn’t included on their version of The Elder).  “Shandi” is just a great fucking song, and “Escape From the Island” is a cool inclusion because of a) its obscurity, and b) its total Ace Frehley shreddery.  It is interesting to note, that only Japan had tracks from the two most recent Kiss albums, Unmasked and Music From the Elder.  The rest of the world did not.  Were Kiss already trying to bury those records?

Periodically, the new songs on Kiss Killers have reappeared on single B-sides, compilations and box sets.  The best way to get them is just to pick up a copy of Killers.  Choose your format, sit back and rock!

Today’s rating:

4/5 stars

* “Shout it Out Loud” is a single version with a different mix on the lead vocals and an early fade.  “Detroit Rock City” and “I Was Made for Lovin’ You” are edited versions.

Original mikeladano.com review:  2012/07/27

REVIEW: Deep Purple – Limitless (2017 Classic Rock exclusive CD)

DEEP PURPLE – Limitless (2017 exclusive CD included with Classic Rock #234, April 2017)

You have to hand it to the folks at Classic Rock.  It’s a quality publication that also manages to give out quality free cover-mount CDs.  With all the attention on Deep Purple these days due to their newly released album Infinite, Classic Rock have done the band up in style.  The CD is not just for beginners either.  Limitless (get it?) has a bunch of material from recent vintage and one exclusive track too.  That’s right — one track on this CD is exclusive to Classic Rock, so get on it, collectors!

At 43 minutes, Limitless has the ideal run time for a great listen through.  If you want to check out some new Deep Purple right off the bat, then just dive in.  Tracks 1 and 2 are the first two singles from Infinite:  “Time For Bedlam” and “All I Got is You”.  Both tracks are excellent, and fine samplings of what the current Deep Purple lineup (est. 2003) sound like.  With Steve Morse and Don Airey, the band have gone from strength to strength.  The instrumental prowess on these songs will easily demonstrate why Deep Purple are universally lauded.

Going back one album prior, we have two tracks from the Now What?! period.  The single version of “All the Time in the World” is a nice ballad for inclusion, though I think “Vincent Price” blows everything else on that album away.  Also included is the rock and roll “First Sign of Madness”.  The liner notes state this song is taken from the “Above and Beyond” CD single.  That doesn’t actually appear to be the case, but ” First Sign of Madness” was included as a bonus track on many editions of the Now What?! album.

The second half of Limitless is dedicated to live material, all classics.  “No One Came” from 1971’s Fireball is one of Purple’s most lethal grooves, and is lifted from the deluxe “Gold” reissue of the Now What?! album.  Gillan’s voice strains hard on this one.  A fun version of “Strange Kind of Woman” comes from the double live 2015 Wacken set.  It’s pure delight.  Next, “Perfect Strangers” is always welcome aboard, and this live version comes from the parallel double live 2015 Tokyo release.

Finally the set draws to a close with the Classic Rock exclusive track, a live tape of “Black Night” from Milan, July 21 2013.  Many of the live tracks on the Now What?! reissue come from that gig, but “Black Night” is previously unreleased.  It’s a jamming version, over seven minutes and Morse-heavy.  And there are more live tracks from that gig in the Deep Purple Infinite box set version, which looks just fantastic.

And magazine isn’t bad either!  The Deep Purple interview reveals some of the lighter side of the legendary Gillan/Blackmore relationship, tempered by the passage of time.  Incidentally, the magazine gives Infinite 7/10 stars.  That’s not bad for a band about to hit their 50th anniversary in a year’s time.  Check it out, and enjoy the 8-track CD Limitless while you read along!

4/5 stars

REVIEW: Faith No More – “Cone of Shame” (2016 RSD single)

scan_20170303-3FAITH NO MORE – “Cone of Shame” (2016 Reclamation Recordings 7″ single for Record Store Day, gold vinyl)

All hail the mighty JHUBNER, decorated hard-core hunter…of records.  Raise your Romulan ale (or what have you)!  Somewhere somehow, the subject of limited edition Faith No More singles for Record Store Day came up.  Mr. Hubner kindly took note that he had seen some at his local establishment.  With great care and expense, he packed it well, armored in a shell of cardboard that could withstand any wayward bombardments.  Thusly, I have acquired “Cone of Shame” on limited edition clear gold vinyl.  Had I thought this through, I would have asked for green, to compliment this burning green alcoholic beverage that Scotty below is hoisting to Mr. Hubner.

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This is a gorgeous 45.  The cover art is quite funny: a pug (with eyes blacked out for anonymity) wearing a doggie “cone of shame”.  Would have been better with a miniature schnauzer, but pugs are fine.   The vintage style label is starkly awesome in black & white.  The pristine yellow disc is a piece of beauty indeed, clean and clear and rich with awesome music carved into its grooves.

The A-side is the standard album version of “Cone of Shame” from Sol Invictus.  This is a song I have strongly warmed up to in the last year.  I didn’t care for it at first, but I have since fallen for its weirdness and Patton’s vocal heroics.  Flip over to the B-side and you will find J.G. Thirwell’s “Calcitron Mix” of “Motherfucker”.  I love what he did with it.  Most of Patton’s voice has been wiped leaving only Roddy Bottum’s hypnotic verses.  The word “motherfucker” is chopped and looped to become the main hook.  There is very little of the original song left.  Essentially a new song has been created with Roddy’s “get the motherfucker on the phone, on the phone” hook, chopped up and given the Max Headroom treatment.  The techno backing feels like a bunch of idiots at a rave, but that’s not my thing.  I’m easily amused so the rearrangement and repetition of the word “motherfucker” keeps me entertained.

Remixes are what they are.  You either like them or you don’t.  I usually lean towards the opinion that an original is better than a remix, 99% of the time.  There are the odd exceptions.  I think you need to use a different measuring stick when talking about remixes.  Instead of “did it make the song better”, perhaps the question should be “did it make the song different?”  In this case “Motherfucker” has been reimagined as something new, and that’s pretty cool.

3.5/5 stars

REVIEW: Faith No More – Angel Dust (deluxe edition)

Previously on mikeladano.com….

Faith No More’s deluxe edition reissue program began in 2015.  Two years prior to that, we reviewed two editions of Angel Dust:  An Australian 2 CD set with a bonus EP called Free Concert in the Park, and the 2 LP version with a “MidLife Crisis” remix.  For this Angel Dust deluxe edition review, we will be incorporating old text from that review into this new one.  We also reviewed the 2 CD single for “Everything’s Ruined”.  Those tracks are also on this deluxe, and we will borrow text from that review as well.

scan_20170205FAITH NO MORE – Angel Dust (originally 1992, 2015 Slash deluxe edition)

Incredibly anticipated, and massively misunderstood:  Angel Dust separated the fans from the wannabes.  Reviews were mixed.  M.E.A.T Magazine’s Drew Masters awarded it 2/5 M’s and failed to grasp the genius that is the chaos within.  It certainly is an ugly duckling and will take more than a listen to reel in anyone.  Faith No More wearied of the “funk metal” tag and sought to distance themselves from it.  Importantly, Mike Patton dropped the nasal tone he utilized on The Real Thing.  Instead he unleashed his full voice in all its extremes.  With enviable range and power, Patton pushed his capabilities to their furthest limits.  Meanwhile, guitarist Jim Martin and the band were butting heads, and most of the songs were written without him.  Mike Bordin, Roddy Bottom and Billy Gould would send him virtually complete songs, which he then “grafted” guitar parts onto.  In a guitar magazine interview, Martin stated that he thought some of the songs were better before he added his own parts.

Angel Dust commenced with double shot of weirdness:  “Land of Sunshine” and “Caffeine”.  Patton pieced together the lyrics to “Land of Sunshine” from a collection of fortune cookies.  Musically it is dramatic, keyboard heavy and foreboding.  “Caffeine” is dark and aggressive, but is Patton’s first bonafide knockout vocal on the album.  From the ominous, gravelly lows to off the wall screams, Patton delivers it.  His voice knew no limits on Angel Dust.  A year prior, he released the debut album by Mr. Bungle.  There is little question that this must have demolished any vocal inhibitions he had with Faith No More.

The first single “MidLife Crisis” was about as close as it got to a commercial track.  You can certainly hear every nu-metal band in the world (Korn! I’m looking at you Jonathan Davis!) ripping off Patton’s gutteral vocal stylings.  But he lets it soar in the choruses.  The bizarre pseudo-rapped  verses, the samples, and the anthemic, layered choruses all pointed to new directions for Faith No More.  The ingredients had never really combined like “MidLife Crisis” before, although 1991’s “The Perfect Crime” hinted at some of these elements.

Perhaps the most bizarre song (there are many more coming) is “R.V.”  The lullaby-like piano backs a grizzly soliloquy from Patton, via Tom Waits, playing a trailer park trash character.  “Somebody taps me on the shoulder every five minutes.  Nobody speaks English anymore!  Would anybody tell me if I was gettin’…stupider?”  Once the novelty value wears off, it’s still a memorable tune due to the powerful choruses.  Patton nails another awesome lead vocal.  “Smaller and Smaller” returns somewhat to more conventional song arrangements.  A repetitive piano hook backs a hypnotic Patton vocal.  The choruses are a bit on the insane side, and then the song deviates into a sample-laden section of challenging rhythms.  Yet somehow the song remains memorable and catchy.  This is followed by the single “Everything’s Ruined”.  It must have been chosen because it is a solid mix of aggressive rapping with a memorable soul-influenced chorus.  While it doesn’t sound like it would have been on The Real Thing, it’s about as close as Angel Dust gets.

“Malpractice” is one of the most delightfully messed-up tunes on the album, a mixture of disjointed sections, noisy guitars, smooth keyboards, feedback, all simmered to perfection.  By the time Patton’s screaming, “Applause, applause, applause, APPLAAAAAUUUUUUSSSSE!” we’re already clapping.  This song was a Patton baby, which explains it.  Certainly, the lullaby after the two minute mark is designed to lull you in before they hammer you with more guitars, samples and screams.  This closed side one.

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“Kindergarten” introduced side two with the sound of Patton barking thoughts about the ol’ schoolyard.  There’s no guitar solo, but Mike Patton muttering musically into a megaphone fills the void where the solo would go.  This is followed by Billy Gould throwing down a bass solo, and into the final verse.  The weak-willed will shudder before “Be Aggressive”, a graphic series of metaphors about swallowing.  This discourse is accompanied by a cheerleader chorus.  Jim Martin turns in a sloppy, Pagey guitar solo, the only one on the album.

After assaulting the listener with a song like that, “A Small Victory” is a welcome respite.  Its simple but bountiful melodies are perfect to soothe the ear canal.  This is also to prepare you for “Crack Hitler”, another bizarre sensory overload.  Funky bass meets distorted rapping, until it swerves into this weird, evil march.  Patton’s vocals run the gamut from light, to dark and monstrous. Even so, Jim Martin’s contribution “Jizzlobber” is the most extreme song of them all.  It has those creepy Friday the 13th keyboards, heavy guitar riffs and pounding drums, and Patton’s most aggressive lead vocal yet.  You don’t know what the hell he’s singing without the lyric sheet, so just be enveloped.  It’s just a pummeling assault, and unprepared listeners may find themselves overwhelmed and perhaps turned off from the album by this point.

The standard album ended with “Midnight Cowboy” supposedly because of some obsession that Billy Gould had with its storyline.  It’s a perfectly appropriate ending given the rollercoaster ride that preceded it.  It’s you, wandering off into the sunset, too wasted to really know if you’re headed in the right direction.  Just keep walking.  Some editions of the album (including this deluxe) added the cover of The Commodores’ “Easy” as the final track.  There are a couple different mixes of “Easy” out there, and this is one is from The Very Best Definitive Ultimate Greatest Hits Collection.  The horns are missing, the drums have more echo added, and Mike Patton speaks at the beginning.  The song is rendered remarkably straight, and it’s a performance like this that truly demonstrates Mike Patton’s vocal mastery.  The original version (the “Cooler Version”) with horns opens disc two, the bonus tracks.  It can also be found domestically on the EP Songs To Make Love To.

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Also from that EP is the bizarre German-language speed-polka “Das Schutzenfest”.  This is a novelty track, shits n’ giggles, nothing more.  A good laugh but unimportant.  The Dead Kennedys’ “Let’s Lynch the Landlord” was also released on the Songs To Make Love To, but it was originally on a compilation called Virus 100.  Jim Martin wasn’t there and the song is performed as a quartet.  An underwhelming acoustic performance, it sounds a little like the Faith No More of the future as Patton adopts a lower singing style.

The real treasure on disc two and rarest of the all is “As the Worm Turns”, a Japanese bonus track for that long out of print edition of Angel Dust.  “As the Worm Turns” was one of the most stunning songs on Faith No More’s debut We Care A Lot, with Chuck Mosely on lead vocals.  A full-throated Mike Patton re-recorded it for this bonus track.  Sacrilege?  It is the superior version now.

A couple included remixes are only a sampling of what is actually available on singles. The “Scream Mix” of “MidLife Crisis” is the extended, bass-heavier mix from the 2 LP edition of the album.  The “Revolution 23 (Full Moon) Mix” of “A Small Victory” is only one of four versions from a remix EP they released.  Then it is on to the live material, and there are some treasures there.  The live EP Free Concert in the Park, (recorded in Munich) is expanded from four to six tracks.  Mike Patton dedicates “Easy” to “everyone with hemorrhoids this evening!”  The guitar solo spot in “Easy” remains a Jim Martin favourite.  Even heavier and more chaotic versions of “Be Aggressive” and “Kindergarten” follow, replete with surprises.  The early obscurity “Mark Bowen” is another Mosely song given the Patton treatment live, adding his own spin and abilities.  Two tracks are added to the proceedings:  “A Small Victory” and “We Care a Lot” from the same show.  These live versions really hit the spot, as they are really cranked up, and “We Care a Lot” contains a segue into “Jump Around” by House of Pain.  It’s a shame the live recording is so tinny.   These tracks were also released on CD singles for “Easy” in Europe.

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Up next are the four live songs taken from the double “Everything’s Ruined” single, all recorded in September 1992.   “MidLife Crisis” is growly and impressive, and “Land of Sunshine” is amped.  “Edge of the World” is the point when the audience is asked to sing along, with Patton yelling “Fuck me harder!”  The trailer-trash-talk of “R.V.” sounds a little laid back live; something’s missing.  It would be much better with the full visuals of a Mike Patton performance.

The deluxe edition concludes with an outtake finally restored to the album it was written with:  “The World is Yours”.  It was originally made available on Who Cares A Lot? The Greatest Hits in 1998.  Like Angel Dust itself, it is sample heavy.  Marching soldiers and trumpeting elephants join Roddy Bottom’s ominous keyboards in a symphony of WTF.  It is a fully formed recording, with effects-laden vocals fully mixed and finished.  It would have fit the more experimental and anti-commercial direction of the album perfectly, but not without making the album overlong.

Angel Dust, unlike the more successful The Real Thing, has a timeless sound.  It is a once in a lifetime album, a perfect meeting of disparate elements.  Jim Martin was ejected after this, and never again would his heavy metal guitars be grafted onto the sonic experiments of Faith No More.  A pity, but they have since moved on even more expansive sounds.  Angel Dust in some respects can be considered the real debut of Mike Patton in Faith No More.  A triumphant one it is.

5/5 stars