Rose Tattoo

REVIEW: Rose Tattoo – Rose Tattoo

ROSE TATTOO – Rose Tattoo (1978 Albert Productions/1990 Repetoire Records “Limited Edition” CD reissue)

It is amazing how in North America, you can spend half a lifetime listening to music without ever running into an album by Rose Tattoo, Australia’s “Angry” exports.  Legendary back home, but over here most of us just know them from “Nice Boys” by Guns N’ Roses.  Some may also remember “Rock ‘n’ Roll Outlaw” by Keel.  Both covers of Rose Tattoo tracks from their eponymous 1978 debut.

Led by the diminutive Angry Anderson, Rose Tattoo were produced by Harry Vanda and George Young, the same duo that helmed those early AC/DC classics among others.  AC/DC comparisons are easy, but Rose Tattoo had two things going for them that other bands did not:  1) dominant slide guitar on every track, and 2) Angry Anderson himself.  Don’t underestimate what you see.  This guy has gritty power that elevates each song, and blows away the most famous cover version you’ve heard.  Furthermore, the lyrics should be mentioned as different from what many bands were doing at the time: Gritty social observational lyrics, featuring  real life stories of the streets (too wild to be true), with colourful characters such a drug dealers and tough guys.

Opening with the slide guitars of “Rock ‘n’ Roll Outlaw”, we can accuse another band who clearly ripped off Rose Tattoo in their early days, that being the Four Horsemen.  If their “Tired Wings” didn’t take inspiration from this song, then I’ll be damned.  The steady beat of Rose Tattoo is the perfect backing for drive this tough boastful rocker.  Besides that beat and slide guitar, Angry Anderson’s voice is the magical ingredient.  It sounds perpetually pushed to the edge, with a delightful squeak highlighting the emphatic parts.  The powerhouse voice of Anderson automatically blows away Keel’s cover.  Sorry Ron.

Guns N’ Roses came close to capturing the frenetic energy of “Nice Boys”, but not even Axl can bottle the energy of Angry Anderson.  Now playing at a punk-like tempo, but with frantic slide guitar punctuation, “Nice Boys” easily kills the famed GN’R cover version.  Hearing it, one gets the sense of “ah, this is what they were trying to do.”

One of the most menacing songs is “The Butcher and Fast Eddy”, slowing things down to that nocturnal crawl that AC/DC mastered with Bon Scott.  Much as Scott filled his lyrics with true stories and colourful characters, Anderson tells a tale here like a novelist.  “Across the river lived Fast Eddy, he was known to be treacherous, very mean. Even Eddy’s sweet young sister out on the streets, just a girl, barely fifteen.”  Is Anderson the Bob Dylan of the dirty streets?  He keeps the story going for six and a half spellbinding minutes, with the band mostly just playing the backing music, with a few picks scraped for noisy blasts.  Angry Anderson’s voice and delivery carries it.

A stomping beat slams through one of the catchiest songs, “One of the Boys”.  It’s an unsubtle ode to being a tough guy with a bunch of tough guys to back you up.  Yet Angry’s words offer more than just boasting.  OK sure, there’s boasting.  “What you need is mates, staunch and true, hold out your back they’re gonna see you through.  I don’t look for trouble but I won’t hide, I’ll jump on you if you don’t step aside.”  There are also hints of deeper themes, such a loyalty.

Now at top speed, “Remedy” brings the punk rock tempos with a single heavy riff and killer hooks.  The message here is simple:  gimme rock and roll.  It’s good for you.  It’s healthy.  Turn it up and blast it, and at this tempo you’ll probably be headbanging too.  Top notch party rock on the edge of punk.

“Bad Boy for Love” uses the slide to bring a sleezy vibe to a slower groove.  In this song, the main character got drunk, ripped up the town, and is now just being released from prison.  Then, he went to go see his girl, whom he finds with another man.  He kills them both and ends up back in the slammer.  This is followed by a jailbreak and “a thousand guns” pursuing him.  Not original, but delivered with bona fide sounding cred.

Keepings things to a breakneck pace, “T.V.” might get you pulled over for a speeding ticket.  Angry’s voice is pushed to the limit again, and the slide guitar is as relentless as the tempo.

The one surprising song is the acoustic “Stuck On You”, featuring the line “like a rose tattoo”.  The slide is now applied to various acoustic stringed instruments, and though it’s clearly the same band, the approach is very different.  A more traditional blues direction does not temper Angry’s voice, still pushing it on the choruses and verses alike.  Sometimes the lyrics verge on the absurd.  “I had a fish named Sam, he lived in bowl.  I heated up the water, so he wouldn’t get cold.”  The lead character seems like a possible stage five loser, but it’s all open to interpretation.  Either way, a great song with memorable words and a delivery impossible to duplicate.

Back to the punk-like rock, “Tramp” tells a more familiar story.  It’s over and done real fast, and then we’re onto the epic closer “Astra Wally”.  Rose Tattoo do best when they tell these kinds of stories.  Astra Wally was a real cool cat, but he sounds like trouble to me.  A drug dealer who samples his own wares, perhaps.  “He don’t get shot, he go by O.D.”  The slide guitar is once again in the spotlight, always fast and always tasty.  That’s founding member Peter Wells on slide.  Then we have Mick Cocks on lead and rhythm, Geordie Leach on bass and Dallas Royale on drums.  When they get down and just lay down grooves like this, you can listen to them all day.  “Astra Wally” is indeed a “super fun thing” as the lyrics state.

That’s a 5/5 star album right there.  But we’re not through yet, because in 1990 this album was reissued with eight bonus tracks.

Up first are a batch of studio tracks.  A B-side called “Never Too Loud” backed the “No Secrets” single in 1984.  Regardless of the time difference, it does sound like it roughly fits in.  It’s less frantic and tighter, with a slightly cleaner sound.  Slightly.  It’s still not anywhere near the polished rock starting to come out of North America at the time, and it maintains the slide and steady beat.

“I Had You First” is from 1981’s “Rock ‘n’ Roll King”.  The punk vibe is first and foremost here, but the chorus is still a blast.

From 1982, “Fightin’ Sons” comes from the “It’s Gonna Work Itself Out” single, and it’s another vibe altogether.  It has a bit of an early 70s vibe with a blues base.  This is about going to war to fight for your country, but it’s more than that.  It offers its own perspective; its own angle on the experience, gleaned from friends.  The lyrics are more interesting than the music, perhaps.

The final studio track is “Snow Queen”.  This one lies somewhere in the middle, a reliable rocker with an undeniable AC/DC beat.  It’s the voice and slide that differentiate it.  It’s low on hooks, but it bangs pretty hard.

The final four tracks are all live ones from an unspecified source.  “Rock ‘n’ Roll Outlaw” and “Bad Boy for Love” feature Angry pushing it even further than on album.  What a singer and what a pair of lungs.  “Bad Boy for Love” is considerably longer than the album version, with loads more solos.  “Rock ‘n’ Roll is King” and “Suicide City” are later tracks.  An obvious single, “Rock ‘n’ Roll is King” is catchy through and through, with Angry still singing at top volume.  Yet it’s all hooks.  Finally, “Suicide City” is probably the most over the top song of them all, total punk rock frenzy.

In short:  If you like rock and roll, get the album, and in particular this reissue.

5/5 stars

 

#1176: End of Isolation

RECORD STORE TALES #1176: End of Isolation

I’ve been in isolation nine days.  A positive Covid test and some weird symptoms have kept me house-bound, and of course Jen was only a few days behind me.  She tested positive with symptoms about four days later.  The true test of a marriage is if one can survive Covid isolation together, twice.  I am happy to announce we are still married!

On Thursday January 23rd, I started feeling an irritation in my throat.  I went home early.  I recorded a 50 Years of Iron Maiden episode with Harrison and Melissa Nee, feeling absolutely wiped out by the end of it.  I went straight to bed.  I woke up the next morning knowing I would not be going into work.  I felt stinky rotten, but without a cough or congestion.  Just my throat, a lot of body pain, a foggy head and fatigue.  I tested myself, and you know how that went down.

While it was longer and harder than my first fight with Covid, it never turned into anything serious.  Fighting the fatigue was the hardest part.  I started working from home on the Monday, putting in full days, but delaying my recovery by not resting enough.

My experience with Covid was not just different physically this time.  Mentally, the toll was different.

During my first round with Covid, I was dreading working from home, but gradually warmed up to it.  On my second round, I was looking forward to working from home, but tired of it quickly.  My lack of enthusiasm might be due to feeling worse this time, but I spent my time differently.  I didn’t listen to any music, at all, while I worked.  I didn’t do any easy chores like laundry while I worked.  All I did was cook the odd meal.  A lot of Spam.  I’m into Spam now.

I didn’t do anything creative for that whole time.  Physically, I didn’t want to continue sitting in that chair (as comfy as it is) any longer once my work day was done.  I did do a quick video with Dan Chartrand on both our YouTube channels – check it out.

It was just a bummer of a time otherwise, as Jen and I learned how to navigate her personal space clashing with mine!  The monotony of the food too; that was starting to wear.  We ordered in a lot.  I had a McBreakfast one day (I ordered so much that it did last the full day).  We tried ramen for the first time.  We got a pizza.  The days blur together.  After I wound up each work day at 4:30 PM, I hung out on the couch for a while, but was starting to feel tired by 5:30.  It was a struggle to stay awake, and I didn’t want to go straight from work to bed.  It is hard balancing what one wants to do, with what one needs to do.

Because I wasn’t able to do much creatively (and also because our next guest also has Covid), Harrison and I paused 50 Years of Maiden.  I think I’m ready to jump back in, but already the show schedule is daunting.

Today I’ve sat down and listened to music properly for the first time in nine days.  I chose the debut by Rose Tattoo, a band we’ll be talking about very soon on Grab A Stack of Rock.  But I’m nervous; nervous that I won’t be able to keep up or maintain my motivation.  I have the Contrarians, Grant’s Rock Warehaus, and Grab A Stack all in the coming week.

Feels good to be negative though.  I plan on going music and Lego shopping today.  Otherwise taking it easy.  Writing this is my creative endeavour for today.  Let’s enjoy the rest of it.  Allons-y!