Tag Archives: Eugeology

Tight Action, Rear Traction or: Too Fast For Love (Eugeology Entry 24)

22 Thursday Jun 2017

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Salutations™!!

Sure, my love affair with Eugene’s choices waned a bit last week, but still, I’m having a winning record with the majority of stuff. And, it wasn’t a total waste, there were parts that I liked, right? Jon’s Monolithic Mega Month of Mayhem may be coming to an end and perhaps, just maybe he can get back on the train and catch up. Well, here’s this week’s take:

Too_Fast

©Elektra Records

 

#24 – Too Fast For Love by Mötley Crüe.

I didn’t even hear of Crüe until after Shout at the Devil came out in 1983. We were on a family trip to Virginia Beach and I was watching Night Flight on USA Network (that’s what it was called back then). The videos for “Looks that Kill” and “Too Young to Fall in Love” came on and I was in awe at the vids and dug the music. It was rough, raw and punchy. At least I thought so back then. I didn’t realize that Shout was a polished as it was. That’s not a bad thing, I like polished.

Then quite a few years later, which could have even been around the time the Decade of Decadence 81-91 greatest hits album came out, I realized there was something prior to Shout from the band. “Live Wire” and “Piece of Your Action” were on that. I thought they were decent songs, but they weren’t “Shout at the Devil,” “Ten Seconds to Love” or “Knock ‘Em Dead Kid.” It was too raw for me. I borrowed a cassette from an ex-girlfriend and really disliked that album. I didn’t like the production and I didn’t necessarily care for the tunes. Well, in my quest to be more accepting of things I don’t normally like, I purchased the CD in 2003 (okay, call it my need to collect). I still really didn’t care for it, even after it was remastered.

So, Eug had it up next on our list. I said, “yes!” because it was one of the few that I actually own or have owned. Eug was happy about that, and then I told him that I hadn’t listened to it but maybe once or twice. I sent me a virtual smack. I deserved that I guess. On to the album…

I still don’t really care for it. Well, let me clarify that. I still don’t like the production and Vince Neil’s voice is only slightly better than amateurish. Overall, it’s not awful. But, I hate the chorus to the title track because it sounds like the Ramones doing hard and heavy music. The “gang” vocals sound like two people yelling in unison instead of sounding like a gang. His voice is powerful in spots and really crappy in others. Now, I understand that when they originally released the album it was mostly self-produced and when Elektra Records signed them, they rerecorded some of the album. I’m thinking once Vince learned how to actually sound like a professional singer, that’s where they rerecorded.

Many of the songs sound like trial runs of Shout songs. “Take Me to the Top” sounds like a mix of “Looks that Kill” and “Too Young…” Not a bad thing but I’d rather have the finished product. Well, kind of. I haven’t really cared for “Looks that Kill” for the last 25 years or so (overplayed). I still like “Too Young…” though.

Besides the bad production, the one constant that I believe has always been the best asset of Mötley Crüe is Tommy Lee. He was the best thing for them. Both in “show” and in talent. He’s a fantastic drummer; a beast, if you will. I got tired of watching his antics over the years but I loved watching him play. Not that I ever saw them live, but on videos and such.

Mick Mars was just coming into his flashiness, even though he was 60 when this album came out (I’m kidding). And the main songwriter, bassist Nikki Sixx, actually plays some riffs that aren’t just mimicking the guitar parts. You don’t hear a lot of that in future Crüe albums. He just plays underneath the guitar parts in most of the songs from here.

I know it sounds like I’m poo pooing on the album, but really, I’m not. It’s not a bad album, just parts that peeve me. I came to that conclusion on the seventh listen through. I don’t usually listen to reissues or at least the “bonus tracks” but on this one, I made an exception. The original release had ten songs. The “official” version had nine. So, even though they released “Stick to Your Guns” as a single, it was omitted on the Elektra version. The 2003 reissue (and what’s on Amazon Music and Napster) has the song back on there as well as a decent cover of The Raspberries’ “Tonight” and “Stick to Your Guns” b-side, “Toast of the Town.”

If you take Vince’s crapola vocals out, this is really a good album and I’m glad I gave it another chance or was required to as part of the research. It’s no Shout at the Devil (my fave by the band) or Theatre of Pain (my second fave), heck nothing up to Generation Swine, but it’s decent. Thanks, Eug. I want to read your take and Jon will catch up someday.

Until tomorrow, same blog channel…
Scorp out!

—
“Plug me in, I’m alive tonight. Out on the streets again. Turn me on, I’m too hot to stop. Something you’ll never forget. Take my fist, break down walls. I’m on top tonight. No, no! You better turn me loose. You better set me free cause I’m hot, young, running free. A little bit better than I used to be. ‘Cause, I’m alive. I’m a live wire.” – “Live Wire” (Sixx)

It’s Alright or: Tyranny and Mutation (Eugeology Entry 23)

15 Thursday Jun 2017

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Salutation™!!

Last week’s album was a dream! It may be one of my favorites since we started this project. Thanks, Eugene! Jon‘s still out in the ether or Rotary Land so who knows when and if he’ll get caught up. But, the world doesn’t stop turning, let’s move on.

Blue_Oyster_Cult-Tyranny_and_Mutation.jpg

©Columbia Records

 

#23 – Tyranny and Mutation by Blue Öyster Cult.

I had forgotten something by BOC could be on this list and I dreaded it when it came up. Well, I like some of their songs, I told myself. Turns out, none of the songs I was hoping for was on this album. No “(Don’t Fear) The Reaper,” “Burnin’ For You” or “Godzilla.” My first listen was full of loathsome annoyance. It was a hodge-podge of styles that really made little sense the first listen through and it was so amateurish.

It isn’t surprising that Eug likes this, though. It seems the rougher and ragged the production and songwriting is, the more he likes it. Something about “spirit of rock and roll,” or the like. I have an appreciation for plenty rock and roll spirit, we just have vastly differing opinions on what that means. At least, we don’t have the same tastes in the overall.  I do think, however, that’s a good thing. I’d not be listening to this list if we liked all the same things. But, I digress…

That first listen was rough. But, I trudged through it and now, six listens through, I have a deeper appreciation for this album. It’s not bad at all, although there are some things I don’t like about it. Two things stand out above all else: 1) I can’t stand the intro to “O.D.’d on Life Itself” (it sounds like something someone who just picked up the guitar for the first time will play over and over because they figured out how to do it; I was there, I know), it’s crap. And, 2) I can’t stand Eric Bloom’s voice, weak and shaky. Joe Bouchard’s voice is pretty good and the songs are fine, but really we need more Buck Dharma on vocals. Listen to the vocals of “Teen Archer” (the only song Dharma sings on this album) and hear the strength and power. Listen to Blooms stuff and it’s, again, like a teenager standing on the stage for the first time.

Bloom’s lyrics are good, though. Let Dharma sing them, I say. “The Red & the Black” is about the Canadian Mounted Police.  “Baby Ice Dog” is, from what I can tell, about a cheating girlfriend. I’m not sure.  “Mistress of the Salmon Salt (Quicklime Girl)” is pretty good, too.

BOC gets a little proggy with  “7 Screaming Diz-Busters.” At least in the beginning. It’s also loaded with sexual innuendo. Especially when your read Eric Bloom talk about what it means. Okay. I think that was a lot of BOC: it’s storytelling over flash and bang. I’m okay with that. Still as much as I grew to appreciate this album, I don’t really want to hear it again. I probably would have liked it had it had Dharma singing more. His leads are great, though. Eric Bloom’s “stun guitar” kills me. It’s just extra “fuzzy.” That’s all. There’s a lot of imagery in the lyrics, sometimes hard to follow, sometimes not. I like that aspect, even if I don’t always know what they’re talking about.

I don’t really know what Allen Lanier is doing. I know he plays keys and rhythm guitar, but three guitars in the band, while not too common, isn’t too unusual, either, especially for the time. But, it’s hard to distinguish who is doing what. The Bouchard brothers, Joe on bass and Albert on drums are on it. Joe does a lot of runs and riffs that stand out throughout the album. Albert has great fills and is solid as heck. That’s the highlight of the album for me.

Overall, I don’t mind the album, but would have rathered have heard at least one of the hits. But, that’s not the point of this list, is it? Nope. Thanks Eug, can’t wait to read your take and Jon, well, you’ll be here in a month or so.

Until tomorrow, same blog channel…
Scorp out!

—
“Flights of black horseman soar over churches, pursued by an army of birds in the rain. None of them can see the clouds, the polished wings don’t care. Animal ways through the hazy dreams full of pain.” –  “Wings Wetted Down” (A. Bouchard, J. Bouchard)

P-p-p-p-poison or: Kix (Eugeology Entry 22)

08 Thursday Jun 2017

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Salutations™!!

The last album, for me, wasn’t my thing. Just didn’t really care for it. I don’t know, yet, what Eugene thinks of it and Jon is somewhere off in the weeds of obscurity on his list placement, so who knows when he’ll catch up. We’ll move on to something else…

Kix-KixAlbum

©Atlantic Records

 

#22 – Kix by Kix.

This is a band that I knew was going to be on the list. I mean it had to be, Eugene talks about them all the time. I figured it would be Midnight Dynamite but it wasn’t. Instead, we get the debut album from the band. I will admit that I groaned a little bit when I saw it come through. I don’t know why and I didn’t know what I was missing.

We all know that I prefer slick, polished production over the raw and rough feel, any day. Any day, except, I guess, today. This album is raw with little over-the-top production. The vocals are kind of tinny and paperlike but it works so well. Steve Whiteman (a fellow WVian) barks with reckless abandon, but dang! it works. They sound so young, so hungry. This is raw and it’s beautiful.

The drum sound is thumpy yet still paper-thin, but again, I don’t mind it. It all sounds like it should be that way. Jimmy Chalfant pounds those skins like his life depends on it. Not a lot of flash but in perfect time. The guitar duo of Ronnie Younkins and Brian Forsythe is a tandem of cock-sure grit. They are perfectly subtle and riffy at the same time. Their chops make this sonically appetizing.

This album has something that you don’t find a lot of. That’s a non-lead vocalist bass player that is the primary songwriter. I know Mötley Crüe’s Nikki Sixx was the main songwriter for them and Bruno Ravel (along with drummer Steve West) is the main songwriter for Danger Danger. Outside of that, most bassists who are the songwriters are also a lead vocalist in some capacity. All that being said, Donnie Purnell is a bad arsed, songwriting, thunderstick thumpin’ mofo! Only one song on the album doesn’t have his name on it and that’s “Love at First Sight” (Forsythe/Whiteman). Incidentally, he’s the only one that is on this album that isn’t currently in the band. One thing that strikes me, though, is that while the songs are written by the bass player, there’s not a lot of fancy bass riffs, at least compared to the guitar parts. Hmmm.

My favorites on this album start with the first tune, “Atomic Bombs” and ends with “Yeah, Yeah, Yeah” (the last tune).  But, my absolute top song on this album, hands down, is “Heartache.” There’s something about the vocal melody combined with the music that makes me smile and nod my head. Not as known as their two big records, Midnight Dynamite and Blow My Fuse, the album Kix has solid, fun and rocking songs throughout. This one was a winner, Eug and I thank you for introducing me to it. Can’t wait to read your take. Perhaps Jon will catch up someday.

Until tomorrow, same blog channel…
Scorp out!

—
“She got love she’s making me burn. Like a fool you know I’ll never learn, she had heartbreak. She said, ‘Love you are my biggest mistake.’ She had heartbreak. Oh well, she had a heartbreak.” – “Heartache” (Purnell)

Ready to Strike or: Black Tiger (Eugeology Entry 21)

01 Thursday Jun 2017

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Salutations™!!

Ytblacktiger

©A&M Records

 

So, last week was one of my faves that have been on this list. Jon’s still a bit back and I think Eug is one week back. Then, it was time to get back to straight-up rock and away from the guitar virtuoso showcase. Let’s move on.

#21 – Black Tiger by Y&T.

All I knew of Y&T was that awful “Summertime Girls.” I will say this is a little better. Dave Meniketti, to me, sounds like the poor man’s Sammy Hagar, but with a less powerful and somewhat erratic voice. Like Jon with Hagar, I think if I could have the songs without him singing, it would make this a whole lot better. On top of that, I’ve never been really big on the “bar rock.” The sleazy, blues-laden “rock and roll” that sounds a lot like much of this.

If the whole album sounded like “Winds of Change,” “Forever” or “From the Moon” (instrumental), I’d most likely be more on board, too. The bonus track, “Somebody for Me,” is pretty cool. And, Phil Kennemore’s bass lines in the title track are really good and stand out. Leonard Haze’s drumming was solid, but I think it was a bit over the top in places and more than was needed. Joey Alves provides good guitar backup to Meniketti. Sadly, of the four members of the band that were on this album, Meniketti is the only member that is still alive. Most of them hadn’t been with the band in the following years up until more recently. Kennemore died in 2011 of lung cancer, Haze in 2016 from COPD and Alves this past March from ulcerative colitis and inflammatory bowel disease. RIP, gentlemen.

All in all, there’s nothing wrong with this album but it just doesn’t grip me and I wouldn’t be in any hurry to revisit it. Nothing really stands out, to me. But, give it a listen anyway to make your own judgment. I’d be interested in Jon’s take, especially, since he doesn’t like Sammy Hagar. I want to hear what draws Eug to it, as well.

Until tomorrow, same blog channel…
Scorp out!

—
“Deep in my heart, I’ll find where to start and follow the light to the end. And the truth will be told for the young and the old as the winds of change will blow.” – “Winds of Change” (Y&T)

Echo or: Surfing with the Alien (Eugeology Entry 20)

25 Thursday May 2017

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Salutations™!!

Joe_Satriani_Surfing_With_the_Alien

©Relativity Records

 

I was a bit indifferent about last week’s album. Not if it was good or not, it was, just how I felt about it. Eugene obviously enjoys it (it’s his list), I don’t know how Jon will feel about it. But, man, we’ve already done 20 weeks of this. 2/5 of the list is down. Well, let’s hit it, then?

#20 – Surfing with the Alien by Joe Satriani.

I’m going to go ahead and say that compared to last week’s flash and boasting, this week’s album has soul and feeling. The grooves on this album are non-stop and the melodies are fantastic. While there are few that can touch his playing, Satch wows you with his blues riffs, his driving rhythms, his command of the entire song. Don’t get me wrong, he still blazes, like Yngwie, but I just feel as if he does it with more feeling and flair than “look how fast I can go.” Satch has his classical moments, too. Just listen to “Midnight.” He can also jump from melodic to in-your-face and back again in the blink of an eye. Example: “Circles.”

Like Yngwie, Satch is playing all the non-drum parts on this album. So, he truly dictates the entire feel of the song, not just from the guitar driver’s seat but from the backbone forward. I have to admit, too that I hadn’t heard most of this album. There have been songs that have been in commercials and perhaps a video game or something, but this is the first time listening through (well, I’m up to seven listens for this round). I thought Stu Hamm was playing bass with him, but not on this album. I have Flying in a Blue Dream (1989) and I know Stu played on a few of those.

This will probably be my shortest review (I know it is so far) but I feel if I keep writing, I’m just going to start overusing adjectives and adverbs. Here’s all you really need to know. This album is phenomenal; it’s tasteful, imaginative, grooving and you can get lost in it. It’s good for background, it’s good for foreground.

My favorites on the album are… Well, start from the beginning with the title track and when you reach the backside of “Echo,” that’s my favorite song.  And, let’s stop a minute to appreciate the cover. As a comic book geek, I’ve always loved the fact that the Silver Surfer graced the cover and from what I can tell, the hand of Galactus is on the other side. Pretty cool.

Thanks, Eug for this one. I really did enjoy it. I can’t wait to see what you and Jon think of this.

Until tomorrow, same blog channel…
Scorp out!

—
““Globally, the idea for the album was to celebrate everything that I really liked about electric guitar, my roots, and the players that I still really like.” – Joe Satriani in an interview about Surfing with the Alien with MusicRadar.com

As Above, So Below or: Rising Force (Eugeology Entry 19)

18 Thursday May 2017

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Salutations!!

It was an okay week last week. Jon and Eugene‘s takes (Eugene is catching up, Jon is one week back) are coming soon. I’m moving on, now.

YngwieJMalmsteen-RisingForce

©Polyor

 

#19 – Rising Force by Yngwie Malmsteen.

All I’ve ever known about Yngwie has been how he blazes on the fretboard. I knew he was interested in classical music and he basically stumbled into the role of being a musician. I once did an article about him and George Lynch for the old ESP mag that was around until the mid-2000s. But, it really didn’t do anything for my listening knowledge.

There’s very little vocals on this album, which, is a highlight for Yngwie, not the band. That is good for him, bad for people who want vocals. The bad thing is that the vocals that are on the album are those of Jeff Scott Soto, which I’m a moderate fan of. And, the first song we have any vocals on, “Now Your Ships Are Burned,” it sounds like it was recorded in some high school band’s basement. It’s kind of cheesy and not showing much confidence in the melodies; it’s a little wavering. Soto’s vocals aren’t very good here, really.

Now, all that said, put all of that aside. This wasn’t about vocals. It was about Yngwie showing off, er… showcasing his talents. That, he does. From the very beginning of “Black Star,” it was a showcase of his interest and execution of the classical genre as well as the hard rock genre. He blazes up and down his scalloped fretboard with sound barrier-breaking speed. It’s not only on guitar, either. It’s also on bass. He’s credited with both and some synth work, too.

Overall, though, it just wasn’t my thing and I love classical music. What it did do, however, was offer some superb background soundtrack for other things that I was doing and taking care of. But, that’s really all it was to me. It’s not something that I’d want to listen to often. It’s fine, it just wasn’t thrilling to me. Especially after the first three listens. It hid in the background.

Yngwie is a great guitar player and if you’re into that kind of thing (and a lot of times it is my thing), then I absolutely recommend you giving this album a shot. It deserves its legendary status among the world’s top guitarists as being important, because it is that important. Just not important for me to listen to again. But, surely give it a shot. Keep watching their blogs to see what Eug and Jon think of this album. For me, it just missed me.

Until tomorrow, same blog channel…
Scorp out!

—
“Now your ships are burned and the evil has returned. It will creep upon you. There’s nothing to do.” – “Now Your Ships Are Burned” (Malmsteen)

Let ‘Em Roll Like a Big Wheel or: Foghat Live (Eugeology Entry 18)

11 Thursday May 2017

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Salutations™!!

King Kobra was pretty alright, really. Jon got caught up but Eugene is still working on his, but he’s trudging along. So, let’s move on to the next one.

Foghat-LIVE

©Bearsville Records (Rhino)

#18 – Foghat Live by Foghat.

The only thing I knew about Foghat before this was “Fool For the City” and “Slow Ride” (of course).  Those are both on here, two of only six songs – first and last respectively. I’m not sure why they kept it to only six songs, though. I have to say the sonic quality of the album is really fantastic. It’s well recorded and you can hear everything clearly. With that comes the residual that you can hear how versatile the musicians were. I must say, too, that “Lonesome” Dave Peverett had a great voice. Rod Price’s lightning-styled slide guitar is pretty good and I’m not a fan of slide guitar. Craig MacGregor plays some serious bass licks, his runs were tasteful and not overwhelming. He’s a very clean bassist. And, on this album Roger Earl sounds like a premiere arena rockin’ drummer. Powerful, but calculated, fills and a very solid beat.

At about 1:25 of “Slow Ride,” though, it seems like the tempo of the song slows down. I’m usually not one to notice slight fluctuations of that kind of thing but I heard it each of the times I listened through. That’s the only glitch I could find on the album. Now, I have to say that I really didn’t care for “Home in my Hand” or “Road Fever,” the last one a boogie-ish galloping number. I just don’t care for that style. I do like that two “hits” I mentioned earlier and, surprisingly enough, I actually dig the Willie Dixon tune, “I Just Want to Make Love to You.” I like “Honey Hush,” too; probably more for the the instrumental bridge in the middle of the tune. That’s a Big Joe Turner tune.

Earl is the only member that’s still with the band and he was a founding member. “Lonesome” Dave (cancer) and Rod Price (fall after a heart attack) have both since passed away and MacGregor, while still technically an official member of the band, has stopped touring due to complications from chemotherapy to treat his lung cancer.

All in all, the record sounds great. But, nothing really moved me about it. I think it’s a fine piece of work, but I just don’t care one way or another about it. Nothing really stands out as memorable. Again, that’s not a knock as I think it’s fine but I just won’t care to listen to it more. Can’t wait to read Jon’s take (as I think this is his wheelhouse) and, of course, Eugene’s. If you like classic hard rock, then I’ll say this could be your thing.

Until tomorrow, same blog channel…
Scorp out!

—
“Going to the city. Got you on my mind. Country sure is pretty. I’ll leave it all behind. This is my decision. I’m coming home to stay this time, ’cause I’m a fool for the city.” – “Fool For the City” (Peverett)

 

The World’s Greatest Lie or: Ready to Strike (Eugeology Entry 17)

04 Thursday May 2017

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Salutations™!!

Last week’s selection was a bit weird for me. I liked it okay, but didn’t love it. That’s fine, it happens. Of course, Jon and Eugene are behind. They’ll catch up, probably. But, more of the Eugeology train…

KingKobra_ReadyToStrike

©Capitol Records

#17 – Ready to Strike by King Kobra.

All I ever knew of this band was the promo pics of Carmine Appice, in his cheesy tiger-striped spandex bodysuit and fu-manchu mustache, advertising either drums, cymbals or sticks. I thought it looked silly, even though I was into stuff like that. Something about Carmine that always made me not like him. I really don’t know what that is because when he was on That Metal Show he seemed like a genuinely cool guy. Anywhat!

This came up and I wondered why I hadn’t ever thought to listen to it. I guess it just wasn’t something I necessarily wanted to hear. That happens and preconceived notions are, sometimes, very restrictive. So, I kranked this up (see what I did there?) and let it fly. I thought I was listening to some Yngwie Malmsteen or something because of all the chiming synths and Gothic sounds. That, on its own, isn’t like Eugene, but on the whole, I have to think of the Alice Cooper, Kix and Kick Axe that he likes and, well, okay, it makes sense. I have been surprised by some of the poppy-happy albums that he puts on this list, though. Not disappointed in that, but surprised.

Carmine does a good job on the album. The guitar work on this album, that of David Michael-Philips and Mick Sweda, is at times really flashy. However, it’s all classy and not gratuitous. I really like the guitars’ tone on this album. It’s meaty and beefy and fills the whole album with sonic fullness. A then-unknown Johnny Rod (he later got some recognition with W.A.S.P.) does some sweet bass runs and glissando and holds that bottom end, deep. Musically this album is solid. But, as usual in these Eugeology albums, for me, the real highlight lies in the vocals.

Marcie Free (then she was known as Mark) has a phenomenal voice! It’s depth ranges from near-glass-shattering highs to ear-rattling power to heart-breaking emotion. She picks just the right attribute to use in each performance.  The only part I didn’t like from her was this crazy falsetto thing in one of the songs. I have gone back and now I can’t find it, but it’s not that important. She makes this album great. Spencer Proffer (and Carmine) do a nice on the production, too. It’s full and bombastic. What you’d expect from 1985, I’d say.

Some of my favorite songs on Ready to Strike are “Hunger” (written by Kick Axe – no wonder Eug likes this), “Dancing With Desire,” “Second Thoughts.” My absolute fave on the album is “Tough Guys.” It is awesome. There are a couple of songs that I don’t care for and I can’t put my finger on what they are. Those would be “Shake Up” and “Attention.” Well, I know what bothers me about “Shake Up.” Those lyrics are that whole “fist in the air/live for rock and roll” mess. I don’t like that. “Attention,” I guess, sounds like “Walk Like An Egyptian” on speed and then they switch to Tia Carrere’s version of “Ballroom Blitz.” I don’t know why I don’t like those, but I don’t. Two of the songs were co-written by Kick Axe, the aforementioned “Hunger” and “Piece of the Rock.” Spencer Proffer (Pasha Records – think Quiet Riot) is all over the song-writing credits, too. And someone that is named H. Banger, which to me, sounds like a pen name for someone. I’m pretty sure the “H” stands for Head. I find nothing on this person in my searches.

All-in-all, it’s a great album with but a few clunkers. I’d say that’s still a good thing. I want to read E & J’s takes on it. I may hear from them around Father’s Day on this one. I also want to hear from you, Dear Reader. What do you know/think of this album? I look forward to responses. What’s next, Eug?

Until tomorrow, same blog channel…
Scorp out!

—
“Don’t ask why… Cause we all know that tough guys don’t cry. The world’s greatest lie is that all of us tough guys don’t cry” – “Tough Guys” (King Kobra/Banger/Proffer)

What!? Whatta You Want? or: Special Forces (Eugeology Entry 16)

27 Thursday Apr 2017

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Salutations™!!

Acforces

©Warner Bros.

Note: I had gotten off on my sequential order. I fixed it. Just so you know. So… Another great one last week, Starz. I gotta be on the lookout for that on vinyl, really. Jon and Eugene are playing catch up. We’ll get their reviews soon. But for now, let’s get to probably the most head-scratching entry we have had on this list yet.

#16 – Special Forces by Alice Cooper.

I’ve never had strong feelings about Alice Cooper, one way or another. There have been great things like Billion Dollar Babies and Welcome to My Nightmare, sure. But, this is not Alice Cooper. I mean, it is, but isn’t. It’s all a bit weird.

There are parts that sound like Alice and some parts that sound like some other person. Now, I know that he was severely f’ed up on cocaine and alcohol at this time. I mean, he does refer to this as his “blackout period” where he had three albums he doesn’t even remember recording from his substance addictions. I don’t know if the guys in his band (or at least the recording band) just went along with him because he’s the boss or were they participating with him, or what, but they complied.

Let me say, though, there’s nothing wrong with this album. I have really gotten into the First Wave/New Wave/Post Punk stuff that happened from about 1980-1983 or so. Stuff I wouldn’t have even listened to 2 seconds of it a mere 10 years ago. The BCPF is a huge fan of that and I’ve started to really get into it. So, this isn’t something I wouldn’t listen to regularly, but for one thing: it’s Alice Cooper. Not that that matters, a good album is a good album. But, is this a good album? I haven’t decided that, yet.

In “Who Do You Think We Are,” once I get past thinking “Turbo Lover” is about to play, I keep hearing Shawn Mullins doing “Lullaby.” Only for a bit, but still it’s there. The rest of that song is Alice, but he’s scattered throughout the album. It’s not a bad song.

I do like the Berlin/Missing Persons-esque sound of the Love cover, “Seven and Seven Is” (originally known as 7 and 7 is). I like that he keeps it synthed-up, too. Oop-ip-ip oop-ip-ip yeah. I like “Prettiest Cop on the Block.” He’s not 6’3″ though (laughs). This song is very much like Alice. The same with “Don’t Talk Old to Me.”

More of the odd (for Alice) synth-based instrumentation on “Skeletons in My Closet” and “You Want It, You Got It.” It reminds me of Robert Hazard or Nails. But, then he goes back to true Alice form with “You Look Good in Rags.” Adam Ant, or the Alice Cooper version, shows up for “You’re a Movie.” This, happens to be my favorite song on the album, by the way. I love his ad-libs. The album ends well with “Vicious Rumours.”

The instrumentation listing should just read “Duane Hitchings and some other folks” because it was mostly a keyboard-/synth-driven album. There were drum machines in lieu of a drummer for a good bit of the album; sucks for you Mr. Krampf. Guitars are present but background material for the better part of the album. Listening on big speakers and headphones and even my laptops’ Bang & Olufsen speakers, Eric Scott’s bass is like Jason Newstead on …And Justice For All, and we all know how that went. Actually, the non-synth songs, you can hear him doing some cool stuff, especially in “Don’t Talk Old to Me.”  It’s just all background to the synths, I think.

So, here’s the thing. I like this album. I think it’s fun, or maybe not fun. I would like this a lot more if it wasn’t Alice treading in his demons. I’m not saying that he shouldn’t have made this album or blaming him for that. I do think it’s a cry for help, which he didn’t get for a while. So, the overall assessment is it’s a great new-wave/first-wave album. It’s not a great Alice Cooper album. But, I dig it for what it was at the time it was. It fit the time.

I want to hear Eug’s take on this and I predict that Jon will find it interesting but not necessarily like it. I could be wrong, I still have a time gauging his like/dislikes. But, it will be interesting, nonetheless.

Until tomorrow, same blog channel…
Scorp out!

—
“Bullets repel off my metals. And, my men are in awe when I speak. All chaos my strategies settles. My mere presence gives strength to the weak. For me it seems really alarming. I’m really just only a man. With five million sheep in this army, I seem to be the only one fit to command.” – “You’re a Movie” (Cooper, Hitchings)

Let It All Be For Me or: Attention Shoppers! (Eugeology Entry 15)

20 Thursday Apr 2017

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Salutations™!!

Attention_Shoppers!

©Capitol Records

I was really pleased with last week’s entry. That surprised a few people because they know how much I can’t stand Aerosmith. But, a good album is a good album. Jon has been traveling and Eugene has had work things to take care of. As I told them, it’s for fun. So, we’ll get their reviews in due time. Now it’s time for this week’s entry.

#15 – Attention Shoppers! by Starz.

Although I had heard of Starz, I had never heard anything from them. I had heard of them because they were one of the bands in the Bill Aucoin stable. Bill Aucoin was the manager of KISS that pretty much got them rolling like the huge rock mastodons they were. He got them signed to Capitol Records. Good job Gui!

There’s not a lot of info out there about the band, really. It sprouted from what was Looking Glass after their lead vocalist left. Add Rex Smith’s brother Michael Lee Smith on vocals and a guitarist (Richie Ranno) from Stories and you pretty much have Starz.

But I can say that this is power-pop beautifully done. It’s a lot like hard rock meets 50’s early rock. It does remind me a lot of Cheap Trick, which can never be a bad thing. The twin guitars of Ranno and Brendan Harkin are melodic and harmonic all at the same time. Pete Sweval’s bass lines aren’t just mimicking the guitars, either. There are some gritty and nasty bass runs and riffs on this album. I love when drummers aren’t afraid to be hi hat heavy and Joe X. is certainly that. I think a drummer that can tastefully make the hi hat more than a time keeping device, that’s most impressive.

The real star(z) on this record, though, is Michael Lee Smith. The guy has some serious chops and a great rock and roll voice. He can get gritty, he can be velvety, he can have oomph, he can have tenderness and probably most importantly, his range is wide. It’s all there. And the harmonies on this record are amazing. Listen to the opening track. “Hold On to the Night,” and you know you’re in for a fantastic vocal journey and the music isn’t bad either. Other faves of mine are “She,” “(Any Way That You Want It) I’ll Be There,” “Good Ale We Seek” and “Johnny All Alone.” My absolute favorite on the album, though, is “Third Time’s the Charm.” I just love that song.

I really don’t know why this band didn’t get farther than they did. It wasn’t like the 80s when there was an overabundance of musical acts to choose from. There were a few dozen handfuls of bands to choose from in the 70s. I know that’s really a stretch but I am just disappointed they weren’t more popular. Perhaps Cheap Trick cornered the rockin’ pop market and cornered them out? Now, I do understand that their previous albums were a little more raw and that after this album a few members were “relieved of their duties” because they thought they should have stayed this course, whereas the remaining members wanted to go back to the more raw sound. I did briefly touch on Violation, the album prior and it was okay, but this is more my speed. If you like good  great power pop music that seems to have just about all the elements you need for a darn-near perfect album. This is it. Thanks Eug, for this one. Can’t wait to hear your and Jon’s take on this. I know Jon heard a few bars of the opening track in the studio and he seemed to dig it.

Until tomorrow, same blog channel…
Scorp out!

—
“If you miss it on the first one, you’ve got to be strong, my son. Get up and try it again and again until the pieces fit right in. The third time is the charm. Don’t you know the third time is the charm?” – “Third Time’s the Charm” (Starz)