Tag Archives: Mötley Crüe

Spinning Sunday or: The Haul 6/13/20

14 Sunday Jun 2020

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Salutations™!!

Jonathan was having truncated hours yesterday, so The BCPF and I headed to Underdog Records right around 1015a or so and while our haul is short, we had good conversations with Jonathan (masked up, of course) and then went to have some lovely crêpes at Penny Path. Here’s the haul:Ernest Jenning Record Co.

Built to Spill Plays the Songs of Daniel Johnston_Built to Spill

©Ernest Jenning Record Co.

  • Death Cab For Cutie – Transatlanticism — the former Mr. Zooey Deschanel, Ben Gibbard, leads this band and The BCPF is a big fan. I liked it, too. It’s a great listen. It came out in 2003 and this was a 2xLP reissue. New.
  • Built to Spill – Built To Spill Plays The Songs Of Daniel Johnston — Doug Martsch, the only permanent member of Built to Spill was friends with (and played back up on his final five tour dates before retirement) Daniel Johnston. Johnston was an eclectic, lo-fi, and mentally-troubled musician who was born in California, raised in West Virginia (wow) and made a name for himself for writing in the “outsider” genre of music. He was also a visual artist. Johnston passed away from a suspected heart attack in September of last year. This is Martsch’s tribute to him. I like the songbook, with lyrics and chord charts, that is included. A good listen. Yellow vinyl. New.
  • Mötley Crüe – Dr. Feelgood — To me, this is the last Mötley Crüe album. Okay, there was the John Corabi Mötley Crüe album and Generation Swine and New Tattoo and all that crap, but that’s what it was. Crap. Well, not the Corabi album, but it wasn’t Crüe. This is heavier but still as poppy as Theater of Pain (which I love, by the way) and that’s okay. There were a lot of good songs on this album. The title track is a fave, of course. “Without You” and “Kickstart My Heart” were cool, too. Another cool feature on this album is that David “Shuffle” Steele from the bands The Beat (English Beat for us Americans) and Fine Young Cannibals after Ranking Roger and Dave Wakeling left to form General Public, sings backup vocals throughout the album. But that’s not the end of the guest stars. Byran Adams, Steven Tyler, Jack Blades of Night Ranger and Damn Yankees, Rick Nielsen and Robin Zander from Cheap Trick, all of Skid Row and Mike Amato (the tour manager for bands such as Arcade Fire, Green Day, KISS, Linkin Park, System of a Down, Cinderella, AC/DC, Skid Row, Marilyn Manson, Soundgarden, Kid Rock, Daughtry, Daniel Powter, Godsmack, Slipknot, etc.) all also sang back up. Nice. Reissue. New.
  • Spirit  – Feedback —This band had Jay Ferguson in the beginning. You know, “Thunder Island.” This album was the first without him and without their original bassist. I don’t know what any of that means but I’m sure we’ll find out when we listen to it. VG+.
  • Strauss – The Best Of Strauss — Yep. Strauss. “Used” but still sealed and in NM condition. Right on.

Jonathan is still doing deliveries during the week and the store is only open on Friday and Saturday for the time being, though I think he’s considering expanding into Thursday, but for now. Just Friday and Saturday. You should watch his Instagram and Facebook pages for things he’s just gotten in, used and new and you can order from him directly. You can shop new vinyl, anytime, day or night, by visiting the UR website. I use Discogs to track my collection, pick randoms and share my collection with friends. You should too!

Until tomorrow, keep spinnin’…
Scorp out!

—
“Cops on the corner always ignore somebody’s getting paid. Jimmy’s got it wired, law’s for hire, got it made in the shade. Got a little hideaway, does business all-day but at night he’ll always be found sellin’ sugar to the sweet people on the street. Call this Jimmy’s town.” – “Doctor Feelgood” (Mars/Sixx)

Spinning Sunday or: The Haul 1/18/20

19 Sunday Jan 2020

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Salutations™!!

The BCPF and I finally had a normal Saturday. We didn’t have to put anything together. We didn’t have to install anything. We didn’t have to go anywhere. We didn’t have to work on the house. We had breakfast. We went to Underdog Records. We came home and listened to records all day. I told The BCPF I want today to be as “mindless” as possible. It fit the bill perfectly. Here’s our haul:

Too_Fast

©Elektra/Leathür

  • Megadeth – Peace Sells… But Who’s Buying? — As much as I love hard rock and metal, I don’t really have a lot of it on vinyl. I’ve been looking to add some Megadeth and this was there and ripe for the picking. It’s a 2017 reissue, but that’s good enough for me. Not necessarily my favorite from Dave and Co, but it’s a good start! New.
  • Tori Amos – Little Earthquakes — Amos’ debut solo album after breaking up Y Kant Tori Read. It was co-produced by Ian Stanley who used to be with Tears for Fears and was a big reason why Songs from the Big Chair was so popular. This was happening about the time I was rejecting anything that wasn’t hard or heavy and nothing that remotely sounded “alternative” was allowed. I realize how ridiculous that is, but at the time, my angst was against those with angst. This is good, although she does still kind of get on my nerves. Like a more talented Jewel. New.
  • Mötley Crüe – Too Fast For Love — I did this for the Eugeology list back in 2017. You can read my review here. I try to collect anything that I did on a “list” and again, hard rock in my collection. My review more than describes anything you need to know about it. New.
  • Ultravox – Rage In Eden — I have grown to dig what I hear from this band. They were new wave and most of what I know of them I hear on 1st Wave on SiriusXM. When I see or hear them, I immediately think of my pal Doug Davis (yes, that Doug Davis) and a conversation we had after a Vagabond Saints Society gig sitting at Finnigan’s Wake. I only have one other thing from Ultravox and that’s Vienna. This is good First Wave synthpop. I dug it. EX/VG++.
  • R.E.O. Speedwagon – R.E.O. Speedwagon — I have a confession to make. Well, a couple, actually. First, I’ve never really liked REO (or R.E.O.) Speedwagon. I loved Hi Infidelity and some of Wheels Are Turnin’ (that album is mostly crap) and a few other songs here and there. But, overall? Nah. The other thing is I never knew that Kevin Cronin didn’t found the band. I always thought that since he was the end-all-be-all in the band that it was his baby. Nope. This is the band’s debut and Terry Luttrell is the lead vox. I couldn’t pass up having it, but I don’t see me really enjoying it so much. VG+.
  • Cutumay Camones De El Salvador – Patria Chiquita Mía — Cutumay Camones was a band from El Salvador whose stated objective was to “recover Salvadorean cultural roots and to provide popular music for the national liberation movement.” I guess they accomplished that? I don’t know. The BCPF picked it up. VG+.
  • Frank Strozier – Fantastic Frank Strozier — So this was not from Underdog Records. This is from a “first.” One of our loyal listeners on the Apartment 5B podcast sent this to me. The album was in a jacket and had a post-it that reads, “For Producer Tim (that’s what I go by on that show)… Had to go really deep… my 5th Grade Social Studies Teacher.” I think from what Jeff Evans (the podcast’s host) said, the 5th-grade teacher really recommended that album to him. I looked this up because I don’t know anything about it. So, the rhythm section, that’s the bass, drums, and piano had all played on Miles Davis’ Kind of Blue earlier in 1959. It was also one of the few recordings to feature a brilliant, young trumpeter named Booker Little who died of uremia at the age of 23 in 1961. Strozier is a saxophonist and I really can’t wait to hear this. So, many, many thanks to you, “Loyal Listener Matt,” for sending this to me. I really, really appreciate it. NM.

So, a mid-sized haul and a lot of good stuff. Jonathan had a lot of new-to-the-store used vinyl and has restocked some of the new stuff so he is churning out some records! Good used equipment there, too. Speakers, receivers, good stuff. Listen to each new episode of The Less Desirables to hear the TLD/UR special. I’m going to give you one for free right here. There are a lot of cool records in the clearance bin there at Underdog Records. Go in and tell Jonathan that you heard from The Less Desirables that you should get something from the clearance bin and you’ll get an additional discount on the things in that section. Don’t expect me to give away the beans every time, I still need you to listen to the podcast! I use Discogs to track my collection and the collections of my friends.

Until tomorrow, keep spinning…
Scorp out!

—
“Excuse me, but can I be you for a while? My dog won’t bite if you sit real still. I got the Antichrist in the kitchen yelling at me again. Yeah, I can hear that. Been saved again by the garbage truck. I got something to say, you know but nothing comes. Yes, I know what you think of me, ‘you never shut up.’ Yeah, I can hear that.” – “Silent All These Years” (Amos)

Spinning Sunday or: The Haul 8/24/19

25 Sunday Aug 2019

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Salutations™!!

It was a weird day yesterday as we had to drop off The BCPF’s car with my Bro-in-Law to have him do some servicing to it. Then we went to the bank to deposit the money from the insurance and then to breakfast before heading to Underdog. I love Underdog Records. Here’s the short-haul:

ShoutattheDevil

©Elektra

  • Mötley Crüe – Shout At The Devil — To me, this is the best Mötley album. It was where I was introduced to them via a rare vacation to somewhere that the USA channel and its Night Flight. I saw the “Looks That Kill” and “Too Young to Fall in Love” videos and was hooked. This was when I was breaking out of my KISS-only exile. In fact, the first KISS album that I got on cassette instead of LP was Lick It Up which came out a week before this did. I say that but the weird thing is, I had this on LP. I don’t know and can’t explain why. I later got it on CD and it was playing in my truck when my ex-wife and I almost wrecked going to WV to my “brother’s” mother’s funeral. We decided that we would never listen to that album in the car again. That’s changed, I’ve listened to it since. But, this was a different kind of rock; a step up from the raw production of their first album. Of course, they got all slick and polished for the next one. This was just the best. There I said it. VG+.
  • Earth, Wind & Fire – All ‘N All — I love EW&F but this was not my favorite from them. At times it seemed that they were just looking for words to put in the song. Not lyrics of course but “nonsense” words as a music teacher called them back in elementary school. And, also at times, it was like the key wasn’t important. It’s not a bad album but it isn’t a great album. VG++.
  • Emerson, Lake & Palmer – Welcome Back My Friends To The Show That Never Ends – Ladies And Gentlemen — A live album by ELP which, while I can’t exactly say I’ve “gotten into,” I have started listening to more and more of it. I think my sense of progginess is coming through. I think I just made that word up. Yay me! I haven’t listened to this one yet. VG++.
  • Emerson, Lake & Palmer – Emerson, Lake & Palmer — The debut album by the aforementioned new “interest.” That makes seven  It has “Lucky Man” on it. I don’t know much more than that. I’ll keep you informed. VG+.
  • Bread – The Best Of Bread — We love us some Yacht Rock and while this album is a bit out of the proper Yacht Rock timeframe the subject matter and musical style is firmly planted in that era. Yacht Rock, technically is from around 1976 or ’77 through about 1981-82. This album came out in 1973, so you see what I mean. But, regardless, it is great stuff. VG++.

So, that’s the haul. Another thing odd about this is that The BCPF had little input. She usually finds a record or two, or heck has most of the records (which happens more than not) in the haul. So, during listening yesterday she picked things that were already in the collection. We switched up the TLD/UR special this week so listen to each episode of The Less Desirables to hear what that special is. Use Discogs to track your music collection, no matter the format.

Until tomorrow, keep spinnin’!
Scorp out!

—
“Gonna tell the story o’ morning glory. All about the serpentine fire.” – “Serpentine Fire” (White/White/Burke

Halfway ‘Tween Here and There or: Little Caesar (Eugeology Entry 34)

31 Thursday Aug 2017

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Salutations™!!

I liked the last album, surprising even myself. It was heavy and I like that, but, now, I’m looking for something a little less harsh. Eugene said he’ll have some time to catch up in the next bit and, hopefully, Jon can, as well. Let’s do this…

51+DL9oc9xL

©Geffen Records

 

#34 – Little Caesar by Little Caesar.

The first thing I thought was, haven’t we already done a Cult album? And, of course, we had but you can’t judge a whole album by one song, especially the first one. That song (musically, vocally) sounded just like the Cult to me. However, that’s where the comparisons ended.

And, that’s where the blandness ended, as well. The rest of the album gave us good rock, soul (literally), hair band-quality power ballads, and just good music. And, really, the first song wasn’t that bland, I just needed wanted to take a jab at that Cult album (which wasn’t all that bad, really). It did, however, sound just like a Cult song.

Ron Young has an amazing voice. The power in “Chain of Fools” (yes that “Chain of Fools”) alone should prove my point, but don’t stop with that one. Listen to his vocals in “In Your Arms,” “From the Start,” “I Wish It Would Rain” and “Cajun Panther” – just to name a few – to continue my argument. When you can wail during the heavy rock and bring an artful rasp to the oomph in the ballads, that’s a great singer.

The guitar tandem of Loren Molinare and Apache (Jimmy Hayne) is riffy, melodic and tasteful. They’re not trying to blaze through anything but they’re not slackers, either. It’s good chops and good stuff. Fidel Paniagua’s bass is deceptively subtle but he’s doing some serious walking patterns and runs. Great bass playing. Tom Morris’ drumming is not flashy but effective. He’s bombastic, thunder-like, and definitely solid. I would love to know who the female backup singer on “Little Queenie” is because she’s awesome.

There’s not a lot of info on this album or the band on the web. I’d venture that this is probably the most love it’s gotten in a while. That’s a shame. According to Wikipedia, the band didn’t gain a lot of popularity because of their tattooed image. I think that’s a bit of a stretch. Mötley Crüe were tatted head-to-toe and they were still pounding it out and in the spotlight. So, I call bull shite on that. I think their biggest problem was that this debut album happened in 1990. The hard rock genre was getting a bit over saturated and, frankly, tired. What I think is a shame is that other bands that came out at that time got a good bit of attention but this, a band of immense talent, was left “in the basement.” The album was produced by Bob Rock which has a big name, but tired is tired and I think the market was flooded by then. The genre was pretty much its own demise, in my opinion.

There’s not a song on this album that I don’t at least “like.” My favorites, however, are the more melodic ballad-like tunes, such as “In Your Arms,” “From the Start,” “Midtown” and the Temptations hit, “I Wish It Would Rain.” I like this album’s version of “Chain of Fools” as much as (if not slightly more than) Aretha Franklin’s. For whatever reason, she’s not my favorite right now. I can’t put my finger on it. But, I love Young’s voice in that. Don’t skip over “Cajun Panther,” “Little Queenie,” “Hard Times” or “Wrong Side of the Tracks” either. You won’t be disappointed.

Eugene, I love this album, thanks for the introduction. Jon, see you on here soon.

Until tomorrow, same blog channel…
Scorp out!

—
“Sunshine, blue skies, please go away. My girl has found another and gone away. With her went my future my life is filled with gloom. But day after day I stay locked up in my room. I know to you it might sound strange, but I wish it would rain.” – “I Wish It Would Rain” (Whitfield/Strong/Penzabene)

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)

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)

Rock the Nation or: Montrose (Eugeology Entry 11)

23 Thursday Mar 2017

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Salutations™!!

I enjoyed last week’s entry, even thinking that I wouldn’t. Good surprise for me. Still waiting on Jon and Eugene‘s assessment of that one. So, let’s see how I like the selection this week.

Montrose_-_-s-t-

©Warner Bros.

#11 – Montrose by Montrose.

I like Sammy Hagar. I like the overplayed “I Can’t Drive 55” and “There’s Only One Way to Rock.” I like a few others of his solo stuff. My favorite stuff from him, though, is his days with Van Halen and that’s my favorite Van Halen. There, I said it. I like Van Hagar better than Van Halen. Do I think the songs are better? Well, I think they’re better written even if they’re not more mass appealing. I like that over the party cock-rock that DLR brought to the table. Don’t get me wrong, I liked Van Lee Roth, too, but enjoyed Sammy better. Anywhat! I got off the rail there.

This was Sammy’s “let’s rip off Robert Plant” phase. Sure, it sounds like Sammy but a lot of it sounds like he’s trying to be Plant. He was young and this was his vocal debut. I get it, he was finding his style. We all do that when we get into music. Heck, I still play like Gene Simmons. And, upon reading more about the album, it turns out that some refer to this album as “America’s answer to Led Zeppelin.” I can see that. It is, at least to me, mainly because of Sammy’s vocals.

Ronnie Montrose was a good guitarist. He had plenty of riffs on the album that were cool and his solos were on point. I feel at times his tone was a bit boxy, but it works for here. It’s not quite Tom Sholtz boxy, though. It was standard Les Paul tone for the time period. Les Paul through a Fender amp, worlds colliding there. I kid. I do like his pull offs and bends.

I did some digging on Denny Carmassi and like the fact that he played on the Heart album. I know it’s poppy cheese but I like it. He’s had a long and storied career that I never knew about (which isn’t surprising) and I enjoyed listening to his works, both post, and during, this production. Heavy beats, heavy playing. You can tell he’s pounding the snot out of the drums. I dig it.

I think my favorite part about the album is Bill Church. His bass lines are flavorful, tasteful and full. He literally fills the recording with his bottom end. Possibly taking up more than is needed. But, I’m a bassist and I don’t complain about those things. He went on to be Sammy’s bassist for most of his solo career. Great, solid bassist right there.

Even with all the components that I like (or mostly like), there’s something about this album that has left me just feeling “blah.” I’m sure I know what at least half of it is: that fast, rollicking “boogie blues rock.” I can’t stand that stuff. Precisely, I don’t like “Good Rockin’ Tonight” (not a Montrose song) and “One Thing on My Mind.” I really want to like “Bad Motor Scooter” and for the most part I do, but something about it, and I cannot put my finger on it, bugs me. I see from where Mötley Crüe got the intro to “Kickstart My Heart,” though. My favorite song on the album is “Rock Candy.” It also was the only song on the album that all four members got writing credit.

I listened to this album about seven times. That was easy to do since the whole thing isn’t but 32 minutes long. I listened over and over trying – nay, hoping – to get a better liking of it. I wanted to like it. I really, really did. And, I didn’t dislike it. That’s the thing. I wasn’t against it and I don’t not like it, I just didn’t like it. Other than this exercise, I probably won’t listen to it again. It’s a decent album that didn’t really grab me the way I wanted it to. That’s a shame.

I can’t wait to read Eugene’s memories of it and if Jon ever catches up, I’d like to read his thoughts on it. So, bring on the next one, Eug.

Until tomorrow, same blog channel…
Scorp out!

—
“But you’re rock candy baby. Hard, sweet and sticky, yes.” – “Rock Candy” (Carmassi, Church, Hagar, Montrose)

Invasion of Your Privacy or: Never Use Love (Eugeology Entry 2)

19 Thursday Jan 2017

Posted by in Music Review

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Salutations™!!

I think I surprised Eugene on the last one. I can’t wait to hear Jon‘s thoughts on this one. I think Eugene and I have talked about this one before. I know we did see Stephen Pearcy’s Ratt after a Hurricanes’ game when the ‘Canes were passing through Greensboro on their way to Raleigh. Anywhat! Let’s get to it.

#2 – Invasion of Your Privacy by RATT.

rattinvasion

©Atlantic Records

In 1983-84, when I was transitioning from my unintentionally self-imposed KISS-only solitude to my “what is this other wonderful hard rocking stuff I hear” period, Ratt’s Out of the Cellar, along with Twisted Sister’s Stay Hungry, Mötley Crüe’s Shout at the Devil and Quiet Riot’s Metal Health were my vehicles. I didn’t have MTV and my only avenues for this was when HBO played a random video here and there (“Round and Round” and “Wanted Man”) and TBS’ (then still WTBS, I think) Night Tracks and when we would go on unusually placed vacations, USA’s Night Flight. That was a flood of new stuff for me. Hit Parader and Circus were big for me at the time, too. It was really the more polished stuff that I liked the most, and that’s not really changed over the years. I like produced stuff. Beau Hill was pretty good at that. He produced Out of the Cellar and this Ratt album.

Invasion came out in 1985, the summer before I moved to NC. After swearing my non-allegiance to the dark lord, Ma Mère allowed me to buy hard rock albums (well, any albums), after the PMRC poppycock. Like the previous Ratt album, this was fantastic. I’ll admit when I got the tape – yes, on cassette – that I favored the three singles. I didn’t give the proper credit or listen that it deserved. I still don’t own it on CD. The only Ratt I own is Ratt n Roll 81-91. That will have to change. So, I’ve stalled enough, let’s get to the album.

Warren DiMartini, in my opinion, is one of the most underrated hard rock guitarists in rockdom. He’s sporadic but tastefully so. Lots of bends and flash and that’s A-OK with me. He has a style that is pretty noticeable to fans of the genre. He’s fairly young, too. Right now, he’s only 53, which means he was around 20-22 or so when I got into the band.

Robbin Crosby (RIP) was a good guitarist as well, and even with his large stature (6’5″) and big sandy blond hair, he was kind of in the shadows to DiMartini. I can only go by what I read in the rags on that, but I always heard more about Warren than Robbin. But, Robbin did co-write half of the tunes on the album.

Juan Croucier, for a finger-picking bassist, was quick and heavy on that bottom end. He was also a fantastic showman, he played with the bass almost as much as he played the instrument. In listening to this album, though, I hear some plectrum playing as well as finger playing. It’s in tone, really. His playing style though, as was much of the bass players at this time, at least the ones I’m familiar with, was a pure rhythm player, not a lot of flash playing-wise but you can tell when he does run off a riff or two that he knows what he’s doing. And, Bobby Blotzer is a solid drummer. I don’t really have a lot to say about him, but I will say his rhythm in “Lay It Down” is pretty impressive; it wears me out just thinking about trying to play that kick pattern. And if I’m not mistaken, he did that with one foot, not a double kick. Again, impressive.

Stephen Pearcy has a very unique voice, both in tone and texture. His range and mannerisms are distinctly his. You know it is him anytime he’s singing. There’s no getting around that. I’d say that’s the case with Ratt, in general. You know it’s Ratt. Pearcy’s voice was at the same time powerful and subdued. I think that has to do with production more than anything. It’s right there, though, and in your face. I say, great.

I have said and will always maintain that “Lay It Down” has the greatest rock intro, ever. That is the end all, be all of intros, to me. That guitar sound and riff is unforgettable, it sounds so epic. It ranks in the top, I don’t know… 10 of favorite hard rock songs of all time. Again, the slow galloping beat shows Blotzer’s talents off, nicely.

I love, too, how Blotzer uses cymbal crashes to emulate the sound of lightning in “You’re in Love,” the album’s opening track. That song pretty much sets the tone of the album. Which rocks all the way through. One thing that I love about Ratt is that they’re not afraid to use a 12-string acoustic guitar to enhance and fill the songs. It’s not in every song but over the course of their first three albums, the use is prevalent.

All-in-all, this is a top-notch album. Ratt was more than a “hair band” was a hard rock band, through and through. Again, mix that signature sound with Pearcy’s vocals and you’ve got a great sonic collaboration, albeit toxic in nature due to personalities. Doesn’t that always happen to be the case?It’s hard to pick my favorites, but if I had to choose, it would be “You’re In Love,” “Lay It Down,” “Never Use Love,” “What You Give Is What You Get,” “Closer To My Heart.”

I’m glad Eugene included this one, I can’t say I’m surprised by it, either. Thanks Eug! Again, I can’t wait to read his and Jon’s reviews.

Until tomorrow, same blog channel…
Scorp out!

—
“I make my moves, I make them right. I don’t refuse, I keep it light. I take command of the scene because for me, there’s no in-betweens.” – “What You Give Is What You Get” (Croucier)