Category Archives: Music Review

Was ist Das? or: Restless and Wild (Eugeology Entry 32)

19 Saturday Aug 2017

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Salutations™!!

Okay, so I’m a few days late, I know. It has been a very busy week. But, the good news is that I liked three albums in a row and Jon has gotten back on the train, at least he’s started to catch up. Eugene has been busy and is a bit behind, still, but he’ll get there, eventually. Let’s get on with it.

Accept_-_Restless_&_Wild

©Portrait Records

 

#32 – Restless and Wild by Accept.

Yeah… so, as with most people, my only knowledge of Accept was their biggest hit, from the album after this one and of the same name, “Balls to the Wall.” Never my favorite song, but it was pretty cool. Well, other than Udo Dirkschneider’s voice. It is unique but it is annoying as all get out. Imagine you took both Bon Scott and Brian Johnson from AC/DC, slammed their voices together and had that voice gargle a mixture of sand, glass and Draino. That’s what Udo Dirkschnieder sounds like.

Musically, this album is pretty good. It’s very 1982/83 sounding. That’s not a bad thing. I just think there were plenty of other bands that were out at that time, that didn’t have someone named Udo singing, that were more enjoyable to listen to. It’s fast and heavy, good qualities. There are several layered guitar parts on this album due to Wolf Hoffmann playing all the guitar parts, even though Herman Frank had joined the band, even being credited on the album.

Stefan Kaufmann is a solid drummer. His playing is definitely highlighted on “Fast as a Shark,” the opening track, which many people consider not only one of the fastest “speed metal” songs of its time, but possibly the first. It is driving and breaking the speed limit, at that. Peter Baltes bass work on “Neon Nights” alone is pretty cool, what with its octave pedal and distortion. He’s not doing a lot of other fancy work, holding down his bottom end. Only Baltes and Hoffmann are in the current lineup of the band. Former electrician, American Mark Tomillo has been with the band as lead singer for the last six albums. I haven’t heard anything from him but I know Eddie Trunk talks about him all the time (they’re “friends”).

My favorite track on here is “Neon Nights” and “Shake Your Heads” grew on me. Udo’s German accent makes discerning the lyrics a bit difficult. I thought the lyric in “Heads” was “take his neck and break it.”  “Fast as a Shark” is impressive as a speed song. There was controversy with that tune, though. Not the song itself but the first thing you hear when you start the album.

When you start the album, it sounds like a record with a lot of surface wear and the old German children’s song “Ein Heller und ein Batzen” (A Farthing and a Penny) starts playing. It’s something right out of Heidi. That gets “scratched” off and they go into the speed-mastered song. The owner of the studio in which this album was recorded, Dieter Dirks, even sang on that actual recording as a child. That’s not the controversy. The controversy is the song “Ein Heller und ein Batzen” was used as a marching song by the Nazis, even though the song dated back to the early 1800s. The band denies knowing this at the time. I have no reason to not believe them.

Overall, the album’s okay, I think. but Udo takes the grade down about four points. I don’t know. It’s a fine album, just know the singer is annoying. Sorry, Eug, I know you’ll be mad at me for that, I just can’t help it. I do want to hear your thoughts on it, though. Jon, I know you’ll catch up soon. And, for the record, I meant no disrespect to Bon Scott or Brian Johnson, I am fine with both of them (just not mixed together).

Until tomorrow, same blog channel…
Scorp out!

—
“Fast as a shark he’ll cut out of the dark. He’s a killer – he’ll rip out your heart. On a one-way track and you’re not coming back ’cause the killer’s on the attack.” – “Fast as a Shark” (Hoffmann/Kaufmann/Dirkschneider/Baltes)

Dis Go Dat Way or: Another Mother Further (Eugeology Entry 31)

10 Thursday Aug 2017

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Salutations™!!

The last time I liked two in a row from Eugene, the streak was broken. I did like the last two, one surprised me. The other I didn’t know what to expect. Eug and Jon are both still behind but I’m trudging along. Here’s this week’s entry:

Mother's_Finest-Another_Mother_Further

©Epic Records

 

#31 – Another Mother Further by Mother’s Finest.

I had heard of this band and do have one of their albums on vinyl, but not this one. I wish I did have it, though. The first thing I hear when this starts up is “Custard Pie” “Mickey’s Monkey,” a song that first appeared 14 years prior to this version from Smokey Robinson and the Miracles and sounds very different, as well. So, there’s the question. Who was copying who? I know Led Zeppelin gets a lot of flack for “stealing” songs but in their defense, “Custard Pie” doesn’t really sound like Smokey’s version of “Mickey’s Monkey.” But, MF’s version of “Mickey” does have the same bones as the original but sounds a lot like the Zep tune in tone and form. The Zep tune came out two years prior. I have listened to both back to back and there’s certainly some copying going on. But, I like both so who cares, right?

This album has everything. It has hard rock. It has funk. It has soul. It has disco. It has slow jamming R&B. In some ways, it reminds me of a harder rocking Sly and the Family Stone and I love me some Sly. If you’re not familiar with Mother’s Finest, first, shame on you, and shame on me, because I did know about them, just not that they were this good. Anywhat! They are a rock band (some even call it “metal” although we don’t use that term much on this list) comprised entirely of African American musicians. They were worried they’d not get their hard rock cred because of their ethnicity so they didn’t put pictures on their albums. This was the 1970s and I can see their conundrum. But, I don’t care if you’re burnt umber, polka-dots and plaid, good rock is good rock. This is great rock. And, with the other elements they bring, that makes it even better. Ask The BCPF what happens when some 1970s or 1980s slow jams come on the radio. I get my soul on and I’m not afraid to admit it.

So, “Mickey’s Monkey” isn’t the only cover on this album. They do a kick-arse version of Elvis’ “Burning Love,” too. I like this version better; it rocks just right. And, these aren’t even my favorite songs on the album. My absolute favorite is “Thank You for the Love.” That’s just an awesome tune. But, I also really dig “Baby Love,” “Hard Rock Lover” and I especially dig “Dis Go Dis Way, Dis Go Dat Way.” I love the riffs and disco feel. Groovalicious!

I prefer the vocal stylings of Joyce “Baby Jean” Kennedy over Glenn Murdock but both are fantastic and their harmonies intertwine perfectly. Gary “Moses Mo” Moore’s riffs on the guitar are tasteful, clever and he shows he can hang with his contemporaries. Mike Keck’s keyboards are what fill all the cracks and his clav work is so 1970s but so juicy. I think the clavinet can be annoying when used willy-nilly and Keck uses his powers for good on this album. Drummer Barry “B.B. Queen” Borden has some serious chops. Listen to “Hard Rock Lover” and see what I’m saying. But, he can also pull back and add a simple back beat that completely brings out the soul in the music, rocking or not. The bass stylings of Jerry “Wyzard” Seay are not only perfectly laid down, but that tone is amazing. So lush and rich but still cuts through. My biggest complaint with most recordings is when the producer, as well as the band/performer, allow the bass to become background noise. That is certainly not the case here. I love listening to his playing.

Speaking of producers, Tom Werman had a lot to do with some fantastic albums from the 70s and 80s ranging from Cheap Trick (including In Color, Heaven Tonight and Dream Police my three faves by them) to Molly Hatchet and Blue Öyster Cult to Twisted Sister, Kix, Stryper and Poison and more. He’s got some big guns in there. Crisp, clean and easy to hear all that is going on. That’s exactly the case here, as well. And, coming in just under 35 minutes the album is jam packed yet easy to get through.

So, to answer the unasked question: yes, this time, there were three in a row that I liked from Eugene. Thanks so much for introducing this to me, Eug and I await your review and Jon’s as well. This is going on my “want list” for both Underdog Records and Discogs.

Until tomorrow, happy funky listening…
Scorp out!

—
“You give me good feelings. You give me good feelings. You give me good feelings. Ooh, I want to thank you for the love. Thank you for the heartaches. Thank you for the tears I’ve cried. Thank you for all those lies.” – “Thank You for the Love” (Mother’s Finest)

Behind the Times or: Missed It By ‘That’ Much

07 Monday Aug 2017

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Salutations™!!

This is one of those “to make you feel old posts.” This past Thursday, when I was posting the review of the latest Eugeology entry, I totally forgot the mention that it was the 30th anniversary of Def Leppard’s Hysteria album. Yeah, take that in, again… 30 years.

hysteria

©Mercury Records/UMe

 

The album was #464 on the Rolling Stone Top 500 Albums of All Time. Here’s what I wrote when I reviewed it:

I was 17 going on 18 when this album came out.  My high school years were summed up around that time.  The entire first side (thinking of the cassette copy I wore out) was awesome with the screaming guitar of “Women” to the processed drums of “Rocket” to the bright sounds of “Animal” and the dark torture of “Love Bites” and the saccharine-flavor of “Pour Some Sugar On Me” to the clever play on words of “Armageddon It.”  Side one of this album by the “World’s Most Cursed Band” really did rock my 17-year old behind! “Gods of War” had one of the coolest, yet simplest basslines of my youth.  The title track was the best thing on Side Two for me.  Side One plus two songs on Side Two makes a damn fine album.  The rest of the songs are ok, but nothing that knocks me over. DUG IT!

It was a great time in my life. Innocent. I loved the album, at least side one. I wore that out. I also wore out the CD. Now, I own it on vinyl as well. This was Def Leppard for me. Yeah, I get Pyromania and all that, but it doesn’t move me like this one did. High and Dry was okay, but it was a little rough for me. I have never made any bones about my favor of slick production over raw and rough production. Robert “Mutt” Lange slicked this up like nobody’s business. And, remember, Rick Allen had already lost his arm and yet he pulled this performance off with flying colors. Yes, the drums are processed and they’re electronic but at that time, it was all they could really do. Yes, it was

Yes, the drums are processed and they’re electronic but at that time, it was all they could really do. Yes, it was heavy on the synths and keyboards, but I love that stuff, too. Seven singles from the album were released. “Women” was the first for the US. It only made it to #80 on the Billboard Hot 100. Then, “Animal” which made it to #19 on that chart. The title track was up next and made it to #10. The album’s (and the band’s) biggest hit ever came next: “Pour Some Sugar on Me.” Oddly enough, even though “Sugar” has the distinction of being the band’s biggest name song, it only made it to #2. The sad anti-ballad “Love Bites” was next and that rode the “sugar wave” all the way to #1; the band’s only #1 in their career, thus far.  Still riding the high, “Armageddon It” made it to #3 and then “Rocket” to #12.

It has sold over 25 million copies and is certified 12x Platinum (diamond level), according to the RIAA. It is about #23 on the all-time album sales in the USA. It lasted a long time on the charts as a whole and it seemed it wasn’t going away. It wasn’t, I suppose. I was quite okay with that.

I’d never say it was a favorite of mine, overall, but I will say it’s my favorite Def Leppard album. Happy 30th to you, my high school friend. See you in another 30 (and before).

Until tomorrow, same blog channel…
Scorp out!

—
“In the beginning, God made the land. Then He made the water and creatures, then He made Man. He was born with a passion, love and hate. A restless spirit with a need for a mate. But there was something that was missing, something lost. So he came with the answer, here’s what it cost: One part love, one part wild, one part lady, one part child. I give you: Women.” – “Women” (Elliott, Savage, Collen, Clark, Lange)

I Don’t Wanna Sit Tight or: Tsar (Eugeology Entry 30)

03 Thursday Aug 2017

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Salutations™!!

I surprised myself with the last entry. I knew I wasn’t going to like it and well, I did. That happens and is my favorite part of this whole list: gems, I’d say. Eugene is a few weeks back and Jon is currently out of town (again), so he’ll start catching up soon. Let’s move on, shall we? And, it’s already #30. Only 20 more to go.41Y9NSGZTFL

#30 – Tsar by Tsar.

My first thought was that this band should have been called Hubba Bubba or Bubble Yum because it’s a lot of bubblegum. Sugary instrumentation and bubble blowing lyrics fill this entire album. But, here’s the thing. I like bubblegum and I like this album. Q: Is it the greatest thing I’ve ever heard or is it something that I’d want a lot of? A: No and probably not.

There are parts that are blatantly very much up Eugene’s alley: riffs, rock and Cheap Trick. I heard that immediately. Then the more I listen there are other things that may not be blatant, but from what I know about my buddy is that he too can be a sucker for some bubblegum power pop. And, this definitely has that. If I were going to describe the album to anyone (which is what I’m doing here, I suppose) I’d say picture Cheap Trick slammed together with Simple Plan with Fountains of Wayne sprinkled on top. Plus, they’ve toured with Duran Duran so they couldn’t have been too heavy, right?

This album was released in 2000 and that’s just before Fountains of Wayne and Simple Plan and that ilk were hitting the scene and making names for themselves. So, this could be a precursor of that genre. And, Cheap Trick is a rock band first and foremost but they had aspects of some power pop goodness and were very influential of many a band that followed. I mean look at Clay Howard, my current partner in musical crime, he has Cheap Trick written all over him. Not a bad pedigree, I’d say. If you want to hear this combo of which I speak, listen to “Silver Shifter” followed by “Kathy Fong Is The Bomb.” Those two are quite representative of the marriage of those styles which aren’t too far removed from each other anyway.  “Ordinary Gurl” reminds me of Oasis, which fits the Cheap Trick mode, I’d say. It’s right between the heyday of the bookends I spoke of. During the solo, I thought they were going to burst into the solo of “Purple Rain” but they didn’t.

The album has some heavy moments, to be sure, but is mostly airy and steady. Hooks are everywhere and that’s never a bad thing. There’s no listing for a keyboard player but it seems like there’s layered pads and such under most of the songs to give a little more of that airy ambiance. This is an easy listen and it’s fun.

Nothing stands out as the thing to listen for, and I think if there was, you’d be missing the point. There’s no member of the band that sticks out, they work together doing their business and giving you good stuff to listen to, jam to, rock out to and darn it, just enjoy.

Jeff Whalen has a great voice that is remnants of the 80s hair bands mixed with that mid-00s power. He also plays a mean guitar. And, so does Daniel Kern. Wide open chords (pun) with the occasional dissonance help to create the massive sound of which this album is representative. Jeff Solomon is a good bass player, although I’d like to hear a little more riffage from him, instead of just having him slave behind the guitars. That’s just the bass player in me talking, though. Steve Coulter is throwing down on some drums. He has subtle, yet impressive, licks in there and I love his hi-hat work. Listen to “I Don’t Want to Break-Up” to hear what I mean.

I can’t pick a favorite on the album because I don’t think there’s anything that I didn’t like. It’s all pretty good stuff. I had never heard of this band before. I don’t know how, but it’s true. And, to revisit my question from earlier. Q: Is it the greatest thing I’ve ever heard or is it something that I’d want a lot of? A (revised): No and probably. This is a good, easy-to-listen-to, enjoyable album with a talented band that knew their strengths and played on them. They’re a bit silly but they’re a shload of fun.

Thanks Eug for introducing me to this. I await your review of it and Jon, I have a way to wait for yours but I want to hear what you think of it, as well.

Until tomorrow, same blog channel…
Scorp out!

—
“I’ve tempered with nature to increase my stature. And, I’ve twisted modern science. I’ve become an appliance and I’ve twisted modern art. And, I am Jean-Paul Sartre. I’ve done what the monkey done. 5,4,…3,2,1. Oh O, here we go. Living on the moon with the MonoStereo.” – “MONoSTEReo” (Tsar)

I Saw a Light or: Bridge of Sighs (Eugeology Entry 29)

29 Saturday Jul 2017

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Salutations™!!

So, it’s Saturday and you’re probably expecting a movie review, right? Psych! Or is it Syke!? I don’t know, I’ve never had to spell my 80s cliche before… Anywhat! Since we didn’t review a film for this past week’s The Less Desirables, I’m going to catch up with the Eugeology list. The last entry was okay, not my favorite but I didn’t hate it. Eugene will catch up soon, I think and Jon, again, has assured me he’s not tapped out. Let’s do this one:

Trower_Bridge_of_Sighs

©Chrysalis/Capitol

 

#29 – Bridge of Sighs by Robin Trower.

My first take was oh jeez, blues crap! but it turned out that it wasn’t all that bad. I mean, there’s definitely some blues stuff happening but isn’t most rock and roll? There are times where it’s a bit much on the album. For the most part, I’m cool with it. It’s not a bunch of Stevie Ray Vaughn ugliness and that’s a plus. And no, Eugene, that’s not an invitation to “convert” me to SRV.

I love the use of spatial effects (that’s spatial, not special) like in the title track. I listened to this album via headphones because I was at home and Alexa couldn’t find it. So, I Napstered it. The point of that is that I can hear the depth changes in the “room” as the guitar parts are being played. The panning is pretty cool, too. So, if you listen to this album, allow yourself the luxury of headphones at least once. The wind effect was a nice touch, too. The unintelligible conversation as the song closes out is also a clever addition. I never understand what they’re saying but it adds to the mystery. It reminds me of Pink Floyd on the Dark Side of the Moon album.  I also like how the wind carries (and wisps away) on the following track, “In This Place.”

I really can’t say enough about the ambiance of the entire album. Matthew Fisher, the producer, took very good care of Mr. Trower on this album. All the instruments are prevalent and have great timbre and tone. Fisher was the organist for Procol Harem (“A Whiter Shade of Pale”), which Trower was a part of prior to his solo efforts.

Bassist and vocalist James Dewar, who hasn’t the greatest of all voices, does have at least one thing in his favor when it comes to his vocals, emotion. You can almost feel what he’s singing. But, I have heard this voice before and I can’t figure out where. I’ve checked out his history and nothing that he’s sung on before was something that I recognized (it was mostly Trower stuff).

Trower’s guitar prowess is pretty darned good. Yes, he’s a bit overly-bluesy at times, but it’s flavorful and inventive, not just bluesy for the sake of being so. His tone is pretty cool, using Leslie (rotating speaker), chorus and wah-wah effects to intensify the “feel and grab” of the guitar parts. His riffs and licks speak to you.

Reg Isidore’s drumming is a great compliment to the other two instruments. Nothing too flashy but definitely solid. It did seem that he skipped a beat or two, or just played something that made me think he did in “Too Rolling Stoned” which wasn’t my favorite song from the album. Probably my least fave. But, as a trio, the band had a lot of presence and finesse.

I’ve heard “Lady Love” somewhere before but I don’t know where. There’s nothing much on it. I do like it, though. I love the power of the final track, “Little Bit of Sympathy.” The stops are tight and the runs by Dewar and Isidore are happenin’. All that while Trower runs amuck without ruining the song. Tasteful. My favorites on the album are “In This Place,” “Little Bit of Sympathy,” “Day of the Eagle,” “About to Begin” and the title track.

I was dreading this album, but instead, I found that I really enjoyed it. I have to say it didn’t get a full compliment of listens – I usually try for six minimum – but, I could write this review off of three, I think that’s pretty impressive. Eug, thanks for introducing me, sorry it took so long. I can’t wait for this review. Jon, see ya in the funny papers, man.

Until tomorrow, same blog channel…
Scorp out!

—
“If you stand in the light, you get the feel of the ride and the music that plays in your ears. In your head you can hear, a voice so sweet and clear and the music that plays in your head. As it flows up from the ground, taking all who hear that sound, close your eyes, it’s about to begin.” – “About to Begin” (Trower)

 

Electric Green Machine or: Trouble (Eugeology Entry 28)

26 Wednesday Jul 2017

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Salutations™!!

Yeah, I’m just shy of a week late on this. So, the last thing wasn’t my thing. Eugene wasn’t too happy with me. Oh, and I talked to Jon over the weekend and he assured me he’s not tapped out, yet. He’s just been really busy. So let’s get on with this last week’s entry:

#28 – Trouble by Trouble.

Trouble_-_Trouble

©Def American

 

Well, this is, um, interesting, I think…? I’d say it’s more like a tale of two albums. On one hand there are parts that I really like and on the other hand, there are things that I absolutely do not like. Musically, it’s pretty rocking. Trouble is considered “doom metal” and that’s pretty evident in parts but then there are the parts that are just straight up rock. Whether they’re doom, gloom, ice cream or unicorn rainbow poop metal doesn’t matter to me. I like a good song. There are a few of those on here.

I guess my ignorance of “doom metal” shows here because when I think of doom, it’s never a good thing. I understand that the genre is mostly reflective of the sound, tempos, rhythms and instrumentation. However, I wasn’t prepared for the Christian/spiritual aspect of it, I guess. It’s not overtly religious, really in any of it. It is subtle but present. And, don’t get me wrong, there’s plenty of lyrical doom on here, too. I mean “R.I.P.” y’all.

Par for the course with me is that I really don’t like the singer, Eric Wagner’s voice. He sounds like he’s screaming most of the time. Although, the more I listened the less it grated on me. Wagner spent time in and out and back in and back out of Trouble through out the years.

The drummer, Barry Stern, is danged solid. He’s on it and has flashy runs and fills when he needs to. It’s not too much. It’s just right. The twin-guitar duo of Bruce Franklin and Rick Wartell make this album what it is, though. Their heavy riffs, harmony solos and thrashy melodies are what makes this album the heavy treat that it can be. Jeff Olson provides the obligatory keyboard piece that this genre needs, if for no other reason than to provide ethereal layers to create the dark ambiance the style is wont to provide.

The letdown for me would be the bass lines from Ron Holzner. He’s doing nothing but mimicking the guitar parts throughout. The guitarists could have used an octave effects pedal and created the same sound. I’ve not heard the bass missing this much since …And Justice for All from Metallica. I’m not sure how I feel about Rick Rubin and his production half the time.

I guess, for the whole album, the best I can say is that I’m conflicted. Parts I do really like and parts I don’t really care for. I won’t say I don’t like it. As I listened to it more whilst writing this, I heard things that previously I had passed off. There are times when I say to myself this doesn’t really sound like Eugene. And, then in the next moment, I’m like yep, there’s Eugene. I can see why he likes it.

Even though I usually dismiss songs that are “long for the sake of being long,” my favorite song on the album is “The Misery Shows (Act II)” at a whopping seven minutes long. I thought it was “Only Women Bleed” at first and then thought I was hearing Black Sabbath (which incidentally the genre of Doom Metal comes from Sabbath), and as much as I don’t like Wagner’s voice, it really works on that. “Heaven on My Mind” and “All Is Forgiven” are pretty cool, too. There are parts throughout that I kept going, nice and other parts I was like, Jeez o’Pete. Silly cliche lyrics being the most of that.

Overall, I’ll say that I didn’t mind it after I listened to it more. I don’t know that I’ll ever listen to it again, but I wouldn’t just shut it off if it was on. Thanks Eug for introducing it and, Jon, hope to see some writings soon!

Until tomorrow, gloom and doom to you…
Scorp out!

—
“I just want to show you that you don’t have to run anymore. I can show you your life has just begun.” – “The Misery Shows (Act II)” (Wagner/Franklin/Wartell)

Escape From The Island or: A True Turning Point

17 Monday Jul 2017

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Salutations™!!

This wasn’t included in my “The Haul” from yesterday because it was delivered after I had posted that. This album was not purchased from Underdog Records, but Amazon. The distributors are back ordered and Amazon had five of them left, so I grabbed one. What is this, already, you ask? It’s my favorite KISS album: Music from “The Elder” (1981).

The_elder_album_cover

©Casablanca Records/Universal 

 

Now, I know a lot of my friends cringe when I say that, especially true KISSheads. Deeper than that, a lot of my friends cringe when I say I’m a KISS fan, period. I have always and will always be a fan of the band and in turn, this album. It’s a major dividing line not only in KISStory itself but in much of the KISS Army. Most people I’ve talked to that have any clue what this album is are in the love camp or hate camp. There isn’t that much in-between.

KISS fans had already started to wane in loyalty over the perceived debacles that the two previous albums, the disco-laden Dynasty (1979) and the power-pop heavy Unmasked (1980). They didn’t like that their favorite band was bowing to trends and seemingly abandoning their roots, and arguably, their fans. There was a lot of turmoil and trouble in the KISS camp that the general public didn’t know about until several years post. The public never knew the fact that Peter was essentially out of the picture for just about everything KISS at this point and that Ace was very unhappy, as well. Part of that was that he wanted to get back to rocking and another part was the fact that, without Peter, he was constantly being outvoted by Gene and Paul and their clique. So for Dynasty and Unmasked Peter wasn’t even on the albums other than one song. They needed something to kickstart the interest again. KISS touted a new album that returned to the rocking style that got them “world domination” status.

Instead, Gene and Paul were persuaded by bad advice and “those who know” suggestions to do something to get critics on board with how KISS really are great musicians. Here’s the thing, though… KISS aren’t great musicians. KISS are good musicians and great entertainers that did what they did (entertain) really, really well.

There was Rock on the album, no doubt. In fact, most of the songs were rock, but this wasn’t the Cock Rock that KISS was known for. Instead of an album full of sex and debauchery, the fans were given art rock concept album that followed a disjointed storyline that was like Excalibur meets Homer’s Odyssey or something equally as weird. In fact, “Odyssey” was a song on the album, written by songwriter Tony Powers that was released a few years prior but never got anywhere. The critics, instead of jumping on the bandwagon, jumped into a ditch to steer clear of it. It wasn’t very good in their eyes. Pretty much, it wasn’t that good. It’s the only KISS album up until Carnival of Souls (1997) that didn’t at least make Gold status in sales. The official tally is around 375k sold. It was also the first record that didn’t have a tour to go with it.

To make matters worse, here in the States, Casablanca decided to rearrange the songs in order to turn the focus onto two songs: “The Oath” and “A World Without Heroes.” So, the concept album that was already confusing enough totally went into the weeds and the songs weren’t strong enough to keep the listeners interested. No one cared. KISS had essentially lied and not put out a kick-arse rock album. KISS put out sub-par tunes that were not even on a decent band’s throw away list. KISS messed up.

I could have been there was a new drummer, one that replaced the departed Peter Criss. Eric Carr is my favorite KISS drummer. He breathed new life into a crumbling phase of KISStory. It was a new, youthful (even though he was only a few years younger than Peter) approach and while the tunes didn’t rattle the windows, his drumming was spot on. Also, Ace was all but checked out. The only real promotion KISS did for this album was on the ABC version of Saturday Night Live called Fridays Ace didn’t care to be there, you could tell if you watched it. He could have phoned in the performance. End-of-caring bare bones costumes, songs that were limp, band members who were either embarrassed or imbibing on substance and it made for a bad time. There was also a “video” performance of “A World Without Heroes” on TV’s Solid Gold.

Most of Ace’s parts were redone in the studio and you had Paul doing several solos and guitarist Robben Ford doing the solo for “Just a Boy.” Ace couldn’t even be bothered to show up for the recording sessions. He had his own studio, “Ace in the Hole,” in a bunker behind his house and he had the tapes sent to him where he’d record his parts and send them back to Toronto or New York, wherever they were recording at the time. It was a long, drawn-out process, to say the least.

Even bringing in legendary producer Bob Ezrin, who co-wrote some of the tunes and who was instrumental in making Destroyer (1976) the beast and success it was, couldn’t save this project. I believe it was a bit of his doing that it was made this way. I also think he was strung out on cocaine. Oddly enough, a few songs were co-written by the late, great Lou Reed. It just made for strange bedfellows, I think. It was a bad time for KISS. It was a bad time for many KISS fans. But, it wasn’t for me; not at the time.

I was still in my “KISS-Can-Do-No-Wrong” phase and truthfully, other than knowing it sounded a little different, I was so blinded that I couldn’t really tell there was a musical change. Not at almost 11 years old (the album was released 10 days before my 11th). It was KISS and I liked the songs. I liked some more than others. I loved “The Oath,” “A World Without Heroes,” “I” and “Mr. Blackwell” (mostly because they said “go to hell”). I listened a little to the others but it wasn’t until much later that I realized what was going on and fell in love with the whole album. I listened and formulated the nonexistent film in my head through the songs. When the “remastered” version came out in the correct track order (the Japanese version was always in the right order), it made a world of more sense to me. It made it a better album to me, although I already dug it. But, it really wasn’t great. I was just too blinded to notice.

So, why then do I say it’s my favorite KISS album if I’ve spent the entire post explaining why it sucked? Okay, it’s only my favorite album in theory. I can’t really place that tag on any one album. I can point to the ones I don’t like as much, easily, though. I think because it was when I was hitting that certain age and still loving KISS in every way and getting to see them on Fridays, that was a big time for me. The next album, they came to their senses and busted arse, but it was a tad too late, sort of… I think Music From “The Elder” is a fine album. Weird but fine. I think it took a lot of balls, the same balls the overall vibe was missing, to put it out and own it. Gene and Paul recognize it for what it is, whatever you want to call it. I love it and will tout it as my favorite, still.

Listen to Music From “The Elder” and give it a fair shake. Understand what it is and try to understand the whys and hows. It’s not typical KISS and it’s not that great but for this former 11-year old, it was it! It was the first KISS album I had on CD (original release listing) and I made sure to get it quick on LP before they discontinued it. Thanks for reading this long-winded post, Dear Reader.

Until tomorrow, same blog channel…
Scorp out!

—
“Morpheus, you have been summoned here to offer your judgment of The Boy. Do you still deem him worthy of The Fellowship?” – Order of the Rose

Hans Grüber? or: Tattooed Beat Messiah (Eugeology Entry 27)

13 Thursday Jul 2017

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Salutations™!!

Two entries in a row that I liked Eugene‘s selections. I’m happy with that. Jon‘s still in hiatus mode but, I suppose he’ll snap back in. I had lunch with him yesterday and Rotary has him slammed on top of his regular work so it’s not surprising. Can we make it three in a row? Let’s find out…

Zodiac_Mindwarp_Tattooed_Beat_Messiah_Album_Cover

©Vertigo

 

#27 – Tattooed Beat Messiah by Zodiac Mindwarp and the Love Reaction.

No: the answer to the above question. We didn’t make it three in a row. Now, let me throw out both a caveat and a clarification. The caveat is that this is a little hard to come by as it’s not on Napster, Amazon Unlimited or any other music streaming services I subscribe to. I had to hunt it down on YouTube and at that, I had to do some work matching which collection matched the album’s track listing. I had tried to listen to the 21-song version three times in the studio and never got past song 12 because it was just so long, I had to work, and/or it was “closing time.” So, I finally got that worked out. The point is, I didn’t get to listen as much as I normally do for the albums on this countdown.

The clarification is that it isn’t a bad album for what it is, but it doesn’t stand out for much, to me. I’m not hearing anything that I already haven’t heard, even on this countdown. Is that bad? I don’t think so. I’m not looking to be wowed, just for something that I may want to go back and listen to more. I couldn’t wait to be done with this. It just bored me. Again, it’s not bad, it’s just not that interesting.

I mean, laying a good foundation for what Rob Zombie would become and pulling in enough Dave Mustaine to make me chuckle? Yeah, that’s okay, but for the most part, Mark Manning (aka Zodiac Mindwarp, himself) is just plain annoying. I listen and try to keep in mind that it is 1988 and for that time, this was somewhat unique. I had never heard of them until Eugene mentioned them when we first started hanging out (22 years ago). Had I listened to it then, I may have had a different opinion, but I feel I would have just turned it, truth be known.

Musically, this is pretty good. The production is on point, the musicianship is very high-standard for its time (1988) and on that it’s enjoyable. But, anytime ZM opens his face on this album makes me want to turn it off and punch him square in the ovaries. Putting aside the Zombie/Mustaine comparison, it’s like Beavis singing over good, dare I say really good, melodic hard rock. Fire! Fire!

I will say, though, when he’s not doing the stupid, raspy, weird thing with his voice, it’s not so bad and I will concede that it’s the best version of Steppenwolf’s “Born to be Wild” that I’ve heard, ever. So, there’s that, right? I do like the title track and “Let’s Break the Law” in addition to the opening track (not counting the silly “Wolfchild Speech”), “Prime Mover” which in listening, I kept thinking they were saying Hans Grüber, which I thought was funny. I had watched Die Hard just a few days prior.

I like the adoption of monikers for all the members. That does help a little bit. The dual guitars of Cobalt Stargazer and Evil Bastard are on point and the tone is very 1988, which I do really like. Slam Thunderhide has solid chops on drums. I couldn’t hear a lot of what Thrash D. Garbage was doing on bass, but it could have been that I had to listen on YouTube and that isn’t always the best representative of sound quality. It’s way compressed. So, I can’t really speak on that front. Lyrically, though, it’s a riot. I’m pretty sure that was a lot of their appeal to their fans. I’d like that more if not for Mindwarp.

All-in-all, it would have probably been a good album had I not had to listen to ZM’s vocals, as I’ve said Ad nauseam. You should give it a listen, though, Dear Reader, as you should with all of the albums on this list. My opinion is just that, I don’t have any answers, just what I hear and think. Thanks Eug for introducing it to me. Jon… well…

Until tomorrow, same blog channel…
Scorp out!

—
“Well I’m Christ in shades I’m a napalm god. Your lipstick flickers ’round my lightning rod. You fever pitch bitch you love to tease. Well, I’m a hot dog daddy up on your knees. Sex fuhrer baby I’m a love dictator. Blitzkrieg romance I’m a living detonator.” – “Prime Mover” (Manning)

Kinky, Sleazy and Slinky or: Black Rose – A Rock Legend (Eugeology Entry 26)

06 Thursday Jul 2017

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Salutations™!!

Last week saw my absolute favorite album on this Eugeology list thus far, with the caveat that it was already one of my faves. But, it was a long review, because I had a lot to say. Eugene is catching up (or trying to) and Jon is falling way behind. But, he’s been out of town, moving, getting indoctrinated in the ways of the Rotary via its presidency and all kinds of things, so it is no wonder. But, let’s move on to this week’s entry…

Thin_Lizzy_-_Black_Rose_A_Rock_Legend

©Warner Bros. Records

#26 – Black Rose: A Rock Legend by Thin Lizzy.

One of the obligatory entrants, at least as far as the artist goes, that I was expecting. I just never know which one from those. This is a good one.

I have never given Thin Lizzy credit. I know and am tired of “The Boys are Back in Town” and “Jailbreak” to the point that I got to loathe the whole band. That was unwarranted and I apologize to them, their memory, their legacy and Eugene. Now, they’re still not anywhere near my favorite band, but, I have enjoyed listening to this.

I will also give the caveat that being that this was a holiday week, with said holiday right in the middle of the week, my listening schedule has been thrown off a little. I try to listen at least six times to make sure I can make the best assessment possible of the album. I’m only on listen four as I write this and will probably restart it, so I may reach six, but I doubt it. I don’t think I need six times, but let’s get on with it.

This album saw the flighty guitarist, Gary Moore hang around at least long enough to record an album. He was in and out of the band left and right, you’d almost think he was a drummer. In fact, he left the band during the tour for this album. During, I said. He always just looked like he was ticked off all the time.

The song selection was pretty varied and in a good way. Styles range from funky to heavy rock to ballads and traditional Irish story tunes. It starts off with a thundering drum and bass cluster that I half-expected to hear Jeff Lynne to start singing. It reminded me of “Turn to Stone” from Electric Light Orchestra. But, soon the triumphant and familiar dual guitar parts cranked in and you knew it wasn’t ELO but, of course, Thin Lizzy and the opening tune, “Do Anything You Want to Do.” Phil Lynott’s undeniable voice breaks through and you’re on a Lizzy trip. The melodies in this song and the follow-up, “Toughest Streets in Town” are some of his best.

“S&M” is a funkier slice. It’s a bit of debauchery, as well. Sleazy and swanky and is pretty much about what you think it means. The music starts off like the theme from “Shaft” with that 70s scrappy funk. I liked it. “Waiting for an Alibi” is back in-your-face rock. It’s straight forward.

On the first pressings of the album, the song “Sarah” was mislabeled as “My Sarah” and Napster, follows that tradition. It’s just “Sarah” the song is about Phil Lynott’s daughter, but I can’t remember what her name is/was. It’s a bouncy pop ballad that perhaps shouldn’t fit on this album, but it does. While it has no flow in the scheme of what the album is all around it, it’s a good departure from the heaviness. It fits the time, though.

The band was in slight disarray at this time (again, Gary Moore bolted right after) and Phil along with guitarist Scott Gorham (remember him from the Black Star Riders review all the way back at #6? If not you can read it HERE) was entering dangerous territory of drugs and alcohol. The song “Got to Give It Up” is reflective of that, whether it was meant to be autobiographical song or not. They should have given it up. Phil didn’t make it another eight years. Scott somehow managed. A good song, nonetheless.

“Get Out of Here” is aggressive and does what you’d expect a Lizzy song to do, rock. “With Love” is the anomaly here for me. I’m not sure how I feel about it. I don’t like the melody Phil sings. Musically, it’s okay and the solo is smoking yet tasteful. I do like the backing vocals but the Phil’s part, I’m not a fan of. It’s worth listening to, but it’s probably my throwaway, if I had to pick one. Luckily, I don’t have to.

Thin Lizzy were proud of their Irish roots and that shows on the closing track, “Róisín Dubh (Black Rose): A Rock Legend.” It’s a mix of traditional Irish tunes and music pieced together, in a suite, with four movements: I. ‘Shenandoah’ (which confuses me there’s no Shenandoah that I can find in Ireland – it’s all in WV and VA here); II. ‘Will You Go Lassie Go?’ (F. McPeake); III. ‘Danny Boy’; IV. ‘The Mason’s Apron.’ I read the lyrics and couldn’t figure out what the heck he was talking about, but it doesn’t take away from it being a good listen.

Production is pretty good on this album. I have to say that after a while the dual guitar thing starts to get old. They did it better than just about anyone, but it gets old. Lynott’s bass playing is solid, he can’t do a lot of extra riffage because he’s singing. I’m not saying he’s slouching, I’m just saying he does what he needs to and does it well. The fun instrument to hear here, though, is the drums. Brian Downey had come back to the band just in time to record this fine album; and fine it is.

I was indifferent, really, when I saw this being assigned, but I’m glad we had it. I liked it and I recommend people to listen to it. I’m surprised, and delightfully so. Thanks, Eug, for introducing me. Two weeks in a row that I’ve liked your entries. Can’t wait to read your assessment, as always, and Jon, well, here’s hoping you’re not too far gone.

Until tomorrow, slàinte!
Scorp out!

—
“Tell me the legends of long ago, when the kings and queens would dance in the realm of the Black Rose. Play me the melodies I want to know so I can teach my children, oh.” – “Róisín Dubh (Black Rose): A Rock Legend” (traditional, arranged by Moore/Lynott)

She Sees Me Through to the End or: 40 Happy Years

30 Friday Jun 2017

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Salutations™!!

So, Thursdays are my day to do music reviews but today is something special. It was 40 years ago today that one of my favorite, if not my favorite, KISS albums came out. That’s Love Gun. It was the first of their albums that I owned and it started my love affair with the band that kept me dreaming, mesmerized, enamored and inspired me to become a musician myself.

Love_gun_cover

©Casablanca Records

 

I started long hours at the cover. Both because the band was “larger than life” in their characters and because there were scantily-clad women adorning the cover… ish. I didn’t know as an eight-year-old kid that I wasn’t actually seeing anything. I thought I was. That, too, was mesmerizing. Thanks, Ken Kelly (artist for the cover)!

At this point in their career, KISS was at their apex. They were also starting to bend and crack with the pressures their “#1 in the world” status brought. Ace Frehley and Peter Criss both started to feel that they were bigger stars and needed to be highlighted more, hence Ace getting his first lead vocal credit on his signature tune, “Shock Me.” He was nervous about it and laid on the floor in the studio, he says to help him with his pitch. I think it was so no one could see him doing it, but I wasn’t there, so I don’t know. Peter had had vocal credits on every album thus far. This was the last full-band studio album to feature Peter as on the studio follow-up, Dynasty, Anton Fig of David Letterman’s “World’s Most Dangerous Band”/CBS Orchestra played drums save for one tune, which was Peter’s lone contribution.

It was the tour for the Love Gun album that spawned KISS Alive II, which is my favorite of the two live albums that really matter. Not because it was better, but it was more my favorite time period in the make-up era of the band. The costumes were cooler and they were just everywhere. I loved that. I didn’t miss an issue of 16 Magazine to see what they were doing, older mags to see where they had been, special editions and so on. This time period was important to me. It was also the period for the fantastically awful made-for-TV movie, KISS Meets the Phantom of the Park. That was the first time I really ever saw what they looked like.

This album is pretty much clunker-free. My least favorite song is “Hooligan” but even that is somewhat cool. Peter’s lyrics are kind of ridiculous but it was right for the time. My next least favorite would be “Got Love for Sale.” I didn’t get how cool that song really was until Heavens Sake (the band I was in for many years – and still am in as we never officially broke up) learned it to cover, although we really only did it in practice a few times. “Have love will travel,” that’s classic. The last I’d do without if I had to choose three would be the cover on the album. “Then She Kissed Me” which was a backflipped version of the Crystals hit. I didn’t listen to the first two of these as a kid much, I’d skip over them. But, I listened to the last. Luckily, I don’t have to get rid of any of the those. I love them on the album, I’m just saying they’re my least faves.

On to the ones that I do love, though. “I Stole Your Love” and the title song are some of my favorite KISS songs, ever. I love the riffs of “Stole” and the lyrical content. KISS was never really deep, but they, at times, told good stories. Those are just solid tunes, both of which made the cut for Alive II and “Love Gun” is still a concert staple for the band. Paul Stanley has been known to ride a pulley to a remote stage in the crowd to sing that song.

Gene Simmons’ sex-obsessed freaky-deakiness came out in two tunes: “Christine Sixteen” in which the song’s narrator laments about a 16-year-old girl as she’s coming out of school. The other is “Plaster Caster” which was written about Cynthia Albritton, also known as Cynthia Plaster Caster to made plaster molds of male rock stars’ junk and some female breasts. Okay, then. If you want to see Gene’s love, just ask her. He also had two “conquering” songs, the aforementioned “Got Love For Sale” and “Almost Human.” I didn’t listen to “Human” much as a child either. I really got into that one after I got the CD in 1990.

The production on this album is solid, produced by both the band and Eddie Kramer, who did three of the band’s live albums (including Alive III), Rock and Roll Over and Ace’s KISS solo album (okay he did Frehley’s Comet, too). Gene’s playing is good. Peter’s, too, although I question if everything on there was his playing or session people. I have no proof, just a thought. Ace was still doing well, despite his substance problems, but there’s some solid solo work as well as some of his best guitar stuff on this album. Paul’s vocals were fantastic and the riffage he threw out on the rhythm tracks is great. He played the first half of the solo in “I Stole Your Love,” too.

This album is where my KISS journey began. I guess you can say it’s maybe one of the most important albums in my life? I really do love it. It’s hard to believe it’s 40 years old today. Man, time’s fun when you’re having flies. If you have it, may you take a listen today or tonight. If you don’t, look it up. It is some of their finest work, in my opinion. I have been listening to it on vinyl whilst writing this, but it’s only slightly over 30 minutes long. I have to turn it over again!

Until tomorrow, rock on!
Scorp out!

—
“I remember the day that we met. I needed someone, you needed someone too, yeah. Spend time takin’ all you could get. Givin’ yourself was one thing you never could do. You played with my heart, played with my head, I got to laugh when I think of the things you said. ‘Cause I stole your love, stole your love. Ain’t never gonna let you go.” – “I Stole Your Love” (Stanley)