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Post by Erik Rupp on Aug 16, 2009 12:14:11 GMT -5
Here's a good example of how guys CAN still cut it past 60:
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Post by Erik Rupp on Aug 16, 2009 11:14:53 GMT -5
In the 70's Jethro Tull had an album called, Too Old To Rock and Roll - Too Young To Die. (I love that title...)
Now, 30+ years later we're seeing a lot of the Classic Rock bands playing into their 60's. That would have been unthinkable back then, but most of these bands are pulling it off really well (Deep Purple, KISS, Ted Nugent, Aerosmith - when Steven Tyler isn't falling off the stage). And then you've got the Rolling Stones, who has members pushing 70 for crying out loud!
Chuck Berry played into his early 70's, and he really was the first guitar hero of Rock and Roll.
So how old is too old for Rock and Roll?
To me, I'd say that 70 is really, really pushing it. I suppose Ronnie James Dio could pull it off past 70's - but not much past 70 (his voice is starting to go, just a bit).
For a band like KISS or Aerosmith it almost seems like the mid 60's should be the end point for the band.
What do you think?
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Post by Erik Rupp on Aug 16, 2009 10:55:37 GMT -5
KISS - Hotter Than Hell (1974)After their first album put KISS on the map (but failed to become a big hit), Casablanca Records President Neil Bogart and KISS manager Bill Aucoin sent them back into the studio to record their 2nd album. This was just six months after the release of their self-titled debut album. The album, Hotter Than Hell, was recorded not in the band's hometown of New York City, but in Los Angeles, and it was completed in only 20 days. Once again sitting in the producer's chairs were Kenny Kerner and Richie Wise, and Warren Dewey was again brought in as the album's engineer. This time, however, Kerner and Wise decided to go for a Black Sabbath Master of Reality type of audio production, with a big, thick, dark sound. The problem? They, and engineer Warren Dewey, didn't know how Rodger Bain got the sounds that he got on Master of Reality. Rather than just call Bain and ask how he got such a thick, dark guitar tone, Kerner, Wise, and Dewey decided to experiement. Multi-tracking and bouncing guitar tracks, running cords into the bathroom to mike the amps in there for the natural reverberation - they tried a lot of techniques that had nothing to do with what Bain did to get the tones that they were looking for. The result? A muddy, murky, sludge filled sound that comes close, but fails to hit the mark. Ironically, on an album with such a dark, muddy sound it is the tone they got for the bass guitar that really shines and is quite good. Go figure. Often overlooked is the snare drum sound. It is harsh and annoying thanks to too much high end and not enough low mids when they eq'd that track. (Sean Delaney's remixes of the songs from this album for the Double Platinum complilation are much better than the original mix, and the snare sound is a big reason why - he fixed it, somewhat.) But beyond the rushed production (the first album was recorded quickly as well, but with much better audio results), the album features several of KISS' strongest songs, and some solid album cuts. The album opens with, "Got To Choose," a Paul Stanley song that combines a very strong melodic sense (including some very nice harmony vocals with Gene Simmons) with some thick meaty riffing. It is a song that holds up very well 35 years later, and still finds it's way into their live set. Ace Frehley still did not feel comfortable with the idea of taking a lead vocal himself, so Gene Simmons once again was called on to sing one of Ace's songs (as he had on the previous album's, "Cold Gin"). "Parasite," follows up, "Got To Choose," with some real musical fireworks. It is a song with a some explosive riffing and Peter Criss's trademark ghost-note filled drumming (much like his playing on, "100,000 Years," and what would be heard on, "Detroit Rock City"). Parasite also features a very nice vibrato-filled solo from Ace Frehley, and is one of the album's highlights. The first songwriting contribution on the album from Gene Simmons is the odd, quirky, almost Beatle-esque, "Goin' Blind." It was a holdover from their previous band, Wicked Lester, and it gets new life here. Dark, with some rather interesting chord progressions, "Goin Blind," is one of those songs that shows how KISS is more than just a one-trick pony. It's also a very strong song, and placed perfectly in between Ace's, "Parasite," and the next track, Paul Stanley's, "Hotter Than Hell." The title track is another of KISS' signature songs, one that has been included in their live set on and off for the last 35 years. It has a slower groove, but a very strong (and somewhat funky) beat. The riff is, again, huge and thick, and the vocal melodies and hooks are very, very strong. It is a classic KISS song. What was Side One (when the album first came out) closes out with Gene Simmons' explosive Retro-Rock song, "Let Me Go; Rock and Roll." This song could be seen as the prototype for, "Rock and Roll All Nite," which would be written for the next album, Dressed To Kill. "Let Me Go," has a busier riff than their future signature song, and a feel more akin to Ted Nugent's, "Wang Dang Sweet Poontang," (which would be featured on his Cat Scratch Fever album 3 years later). Side Two opened up with Gene Simmons', "All the Way," a strong album cut with some good vocal melodies and more big, fat riffs. It also features another Retro-Rock chorus. For all the intentions to have a big, fat Black Sabbath sounding album it seems that they had just as much in common musically with Chuck Berry as they did the boys from Birmingham. The next track is another of KISS' strongest songs, "Watchin' You." Written and sung by Gene Simmons this song is centered around some more big, hefty riffing, with the riffing here being a tad more complex than most of what was on the rest of the album. The song with it's mid-tempo beat is heavier than it's predecessor, but not any less melodic. It also, again, features some nice harmony vocals between Gene and Paul Stanley. After the dark, chunky, busy, mid-tempo riffing that was, "Watchin' You," KISS moves into good old Rock and Roll territory with, "Mainline." "Mainline," features a lead vocal from Peter Criss, and his ability to sing straightforward Hard Rock with his raspy voice is often overlooked and undervalued. While he may be best known for the (sappy) ballad, "Beth," his strength as a singer really was on the songs that had more of a good time Rock and Roll vibe. This is no exception. "Mainline," is happy, upbeat, and almost bright and shiny musically (despite the muddy audio production). Peter's love of 60's R&B really shines through on his vocal performance here, as the Paul Stanley written song really suits him to a, "T." This is an album cut, and almost a throwaway album cut at that - except that it's just so damned infectious that it's clear why it was included on the album. Paul follows that up by singing a good time Rock and Roll song himself. "Comin' Home," is very similar to the previous song, but with enough differences in tempo ("Comin' Home," is a little faster), and overall feel that the songs are distinct from each other stylistically. Like, "Mainline," "Comin' Home," could be called a near throwaway, "Filler," track, but again is infectiously catchy and just so damned upbeat (and a seeming message about being away from home for an extended period of time while writing and recording the Hotter Than Hell album), that it, like it's predecessor, earns it's place on the album. The album closes out in the dark, moody, heavy fashion that would be expected of an album with this kind of sludgy audio production. "Strange Ways," was written by Ace Frehley and sung by Peter Criss. It is really the only song on the album that sounds like Black Sabbath at all. It IS a song that wouldn't sound out of place on Master of Reality, but it still sounds like KISS for the most part. It features a slower, grungier riffing style, and a good strong beat, but it's Peter Criss' vocals that really take this song from Black Sabbath territory to something closer to KISS' signature sound. It's not the best song on the album, but it isn't the weakest, either. It's a solid album cut (a little stronger than average on this album), and the perfect song to close out the album. Overall, Hotter Than Hell may not have as many absolute KISS classics as the debut album did, but it also doesn't have the obvious weak spots like that album did. For an album written and recorded as quickly as it was (although a few of the songs were in KISS' repertoire for over a year), Hotter Than Hell turned out remarkably well. 4.5/5
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Post by Erik Rupp on Aug 16, 2009 1:42:50 GMT -5
Y&T - Mean Streak (1983)The third in a Classic Melodic Metal triology (Earthshaker, Black Tiger, and Mean Streak), Mean Streak is probably Y&T's best album. Earthshaker was raw, but filled with great songs that had great riffs and catchy hooks, Black Tiger polished up that style, and then Mean Streak perfected it. The title track immediately gives the listener a preview of what he or she is in for throughout the album; it is a heavy song (in an early-80's way) with a lot of melody and hooks. "Straight Through The Heart" is a great mid-tempo song with a fairly good sense of groove and a somwhat choppy riff (not a bad thing at all). "Lonely Side Of Town" is more melodic, with a slightly more "pop" feel than the previous two songs, but the band cranks it back up on "Midnight In Tokyo," one of their signature tunes. "Midnight.." is somewhat reminiscent of "Forever" off of Black Tiger, only with more dynamics (mellow first half of the verse, heavier second half of the verse and bridge, and a heavy chorus with a GREAT vocal hook). "Breaking Away" is a more polshed version of their Earthshaker style; great riffs and hooks without being at all "wimpy." Y&T again ups the ante with "Hang 'Em High," a one of the faster and heavier songs on the album, but still melodic with good hooks. They then slow it back down to mid-tempo with "Take You To The Limit," which is another solid track. Y&T shows more polish on "Sentimental Fool," before closing with the raw, AC/DC-esque "Down And Diry." There is not one song on this album that even comes near sounding like "filler," as they are all so well written that even the more melodic (or, "Poppier") songs come off well. One key factor in the album's artistic (if not commercial) success is the (basically) perfect production by Chris Tsangerides. The drums are big, but not too boomy, the guitar tone is crunchy and fat, but still distinct, and the bass is mixed in just right (not too much, but enough that it holds up the bottom end very well). The "pop" songs end up sounding more "Rock" thanks to Tsangerides' production. Y&T never again matched this album, but they did have some good ones after this including Contagious, Ten, Musically Incorrect, and Endangered Species. While Y&T hasn't ever gotten the widespread popularity that they deserved (based on the quality of several of their albums), they did carve out a nice cult following in the 80's, the core of which still follows the band over 25 years later. And with good reason. (Originally written on June 4, 2000. Edited/Reworked on August 15, 2009.)4.5/5
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Post by Erik Rupp on Aug 15, 2009 21:08:36 GMT -5
Well, that's how they advertise it.
Fuddruckers. The World's Greatest Hamburger.
And who am I to argue? I just had lunch there today, and as usual it was great. I had the original half pound burger and I've got to tell you I am STILL stuffed 5 1/2 hours later.
Anyone else have a Fuddruckers near them?
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Post by Erik Rupp on Aug 15, 2009 21:02:50 GMT -5
Bruce Kulick - Audiodog (2001)Bruce Kulick. A name known by KISS fans, some Grand Funk Railroad fans, but few others. Those in the know will tell you that he is an accomplished guitarist and a good songwriter. 11 years in KISS and 9 years (and counting) in Grand Funk Railroad attest to the respect he has earned from his bandmates. Beyond playing lead guitar for those two bands he has also played for Meat Loaf, been in a Hard Rock band, Blackjack, with Michael Bolotin (Bolton), played on Billy Squier's debut solo album, and formed a band with former Motley Crue singer John Corabi (Union). And yet even with that impressive resume behind him he still is largely unknown by the public at large - even among many Rock guitar fans. Despite that lack of name recognition he decided to write and record a solo album in 2000. Working with co-conspirator (co-writer and co-producer on the album) Curt Cuomo, Bruce played all of the guitar and bass parts himself, with Brent Fitz of Union handling the drumming on all but two of the songs on the album (Kenny Aronoff played on the two that Fitz didn't). Bruce also decided to take the plunge into the world of lead vocals for the album, Audiodog, as well. Having only one lead vocal credit in his entire career (the song, "I Walk Alone," from KISS' Carnival of Souls album) many thought that was a risky move and felt that the album would suffer as a result. So did it? Maybe a little in spots, but overall Bruce's vocal work was effective enough to get the job done. In fact, in spots his voice fits several songs absolutely perfectly. As far as the songs go, each one is noteworthy in one way or another. "Pair Of Dice," is a Joe Satriani-esque instrumental with a strong groove and some really catchy lead guitar melodies (taking the place of vocals). Bruce's playing shines throughout this track, and it is one of the album's highlights Bruce's lead vocal debut on the album comes in the form of, "Strange To Me," a Hard Rock song with just a hint of the 90's Seattle scene. Actually, it sounds a bit like the hardest edged 70's Power Pop fused with some of Seattle's early to mid 90's finest bands. Bruce's vocals on this one sound just a little tentative, but stronger than on the KISS song he sang. This is a song that would have been right at home on one of the Union albums. His strongest vocal track may just be the best (and heaviest) song on Audiodog - "Change Is Coming." "Change," sounds like something that Bruce might have written for KISS' Carnival Of Souls album. Dark, but not oppressively so, "Change Is Coming," hits all the right notes, and hits them hard. Brent Fitz does his best Eric Singer impression here, and the performance (Bruce, Bruce, Bruce, and Brent) sounds like a tight band that had played together for years. It isn't sterile, like one might expect from one musician playing and singing everything himself (with the exception of the drums). This is a killer track, and one that Bruce should be especially proud of. Following up that monster of a song Bruce sends what could be a veiled message to his former employers, Gene Simmons and Paul Stanley with the song, "Need Me." Lyrically he even mentions one of the song titles from Carnival Of Souls as he sings about how, "They'll tell you lies and say that nothing's wrong," and how, "I'll take that trip and smile just like a rat." The song seems to reference the period just leading up to the KISS original line-up reunion in 1996 and the period where he was still technically, "In," the band while they were out on the Reunion Tour. (He was, "In," the band as long as Gene Simmons and Paul Stanley thought that there was still a chance that the Reunion might not work out - that didn't last long.) It also seems that he may be referencing playing bass (and possibly guitar) on KISS' Psycho Circus album - the album advertised as the return of the original KISS line up on album for the first time in 17 years. Lyrically the song really does seem to be a stinging rebuke to his former employers, but whether it is or not musically it is a thundering behemoth with tons of nasty attitude. So how does he follow up that juggernaut of a song? With something much more delicate and introspective. Moody, at times mellow, at times bluesy, and also at times just a little aggressive, "I Don't Mind," takes the volume down, and resets the album somewhat. You could call this a Power Ballad, but it's a little darker than most Power Ballads, and it also (again) has hints of Seattle throughout. It's not a bad song, but not up to the standards of the album's first four songs. If, "Need Me," was a monster of a song, "Monster Island," is more of a streamlined, shiny mechanical beast of an instrumental. That's not to say that the song lacks feeling, because it doesn't (there's plenty of feeling in his leads for sure), but this song goes back to the 80's and early 90's Satriani approach, and with good results. Bruce's playing on the instrumental tracks on Audiodog is nothing short of exceptional. The interplay between Bruce (both with his guitar playing and his solid, sometimes outstanding bass playing) and Brent Fitz is again on display on, "Monster Island," showing off the talents of both men. Then Bruce takes another left turn onto, "Please Don't Wait," road. It's another moody song with a lot of dynamic changes, and another song that combines 70's Power Pop with just a bit of 90's Grunge. It's a solid, but unspectacular song that again gives the album time to breathe. And to set up what is perhaps Bruce's most impressive lead guitar instrumental on the album in, "Liar." Again Bruce brings a song with wide ranging dynamics, but this time it's a Bluesier version of Kulick that we get. The lead playing on, "Liar," is truly impressive as Bruce shows off the tastefulness of his playing and brings that intangible thing known as, "Feel," to the song. The song itself is actually very well written and would hold up quite nicely next to any guitar legend's instrumental tracks. While Bruce didn't replace Ace Frehley in KISS (he replaced Mark St. John, who replaced Vinnie Vincent, who was the one who replace the Space Ace), he was always compared to the former KISS six string slinger. So what does he do after having been out of KISS for five years at that point? He writes and records a song that would fit right at home on one of Ace Frehley's solo albums from the 1980's. "I Can't Take," really is quite Frehley-esque, right down to the solo that seems like something Ace would have played himself with just a slightly increased musical vocabulary. This is a solid track. It's nothing great, but it's fun and features Curt Cuomo on piano. Then the album kind of winds down a bit with yet another moody track, "Dogs Of Morrison." This one lies somewhere between the Stone Temple Pilots and Ace Frehley's 1978 solo album, and is again not a great track but it is a solid album cut. Bruce closes the album out with another instrumental, "Skydome." It sounds like an album closer. It's got an edge and a solid beat, but it's the musical equivalent of a nice sunset. It's not as heavy as, "Pair Of Dice," or, "Monster Island," but it's heavier than, "Liar," and does have some nice bluesy moments mixed in with the wispier, almost spacier licks (and one riff that could have been part of a KISS album circa 1985). The production on Audiodog is clean and crisp with some great guitar and bass tones, and serviceable drum sounds. The performances are all fantastic as Bruce and Brent (and Kenny) earned all the superlatives offered here. Audiodog is arguably the best Post-KISS solo album from any former member of the group (and it's also better than Gene Simmons' A**hole or Paul Stanley's Live To Win albums). This is definitely a job well done. 4.5/5
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Post by Erik Rupp on Aug 15, 2009 11:45:46 GMT -5
OK, the rules here are fairly simple.
Opinions are great. Strong feelings are great. Negativity can be appropriate at times.
But personal attacks/insults against other forum members is not acceptable. Keep the discussion with your fellow forum members at least somewhat courteous.
Posting pictures with nudity is not allowed, sexually explicit comments are not allowed, and try to keep the profanity to a minimum (but I won't be the four letter word police, just try to keep it somewhat classy here).
Failure to follow these rules will result in warnings. Repeat offenders will be banned.
Let's make this a fun place to discuss music, movies, and other topics!
Thanks!
All reviews in the Album Reviews and Movie Reviews sections written by Erik Rupp are copyrighted and owned by Erik Rupp and may be reprinted or reposted online only by permission. And if you're desperate enough to steal one of my reviews you probably need help...
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Post by Erik Rupp on Aug 15, 2009 11:38:29 GMT -5
Dokken - Shadowlife (1997)Dokken is not a, "Seattle band." Nor are they a band of the 90's (originating in the 90's, anyway). So why they decided to try to reinvent themselves as a 90's era Seattle-type band is the big question. From what Don Dokken has been quoted as saying, George Lynch did not want to do an album that sounded like Dokken from the 80's, and actually refused to play anything even close to that style. That would certainly explain why the band moved into territory better left to bands like Soundgarden, Alice In Chains, and (prior to Cobain's demise) Nirvana. Precious few of the songs on Shadowlife have a memorable hook or a solid riff. After Dysfunctional's effective blending of 1980's style Dokken with 1990's down-tuned, darker sensibilities, Shadowlife was a HUGE disappointment. The production on Shadowlife is also fairly poor. Muddy and murky, the album sounds as crisp as an old piece of cardboard. The production does, however, come close to matching the muddy, murky nature of the songs, so maybe that's appropriate. Some of the songs are interesting though, and, "Sky Beneath My Feet," is a very good song that actually approches Dysfunctional territory. Shadowlife certainly was an ambitious album, even if it was something of a failure both commercially and artistically. From this experience it became clear that Don Dokken and George Lynch could not effectively work together in the same band anymore. Shadowlife's failure also paved the way for the return to classic Dokken form on their following album, Erase the Slate. If you want a solid (some might say great) new(er) Dokken album then Dysfunctional, Erase the Slate, and especially Lightning Strikes Again are the kind of Dokken albums you're looking for. If you are interested in hearing something experimental, then you may just find Shadowlife interesting, or even enjoyable. Probably the former more than the latter, though. (Review originally written on April 13, 2000. Edited/Updated on August 15, 2009.)2/5
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Post by Erik Rupp on Aug 15, 2009 11:15:54 GMT -5
IRON MAIDEN - A Matter of Life and Death (2006)A Matter of Life and Death finds Iron Maiden firing on all cyliders once again. Picking up where Dance of Death left off, Steve Harris, Bruce Dickinson, Adrian Smith, Dave Murray, Janick Gers, and Nicko McBrain took their songwriting to the next level. A Matter of Life and Death features fully developed, sophisticated songs that have both power and melody. Songs like "Brighter Than a Thousand Suns," and "The Longest Day," match up against almost any song in Maiden's catalog, while others like "The Pilgrim" (with it's middle eastern flavored riffs), "These Colours Don't Run," and "The Reincarnation of Benjamin Breeg" all give the album a cohesive feel. Much discussion has gone on regarding the album's magnum opus, "For The Greater Good of God," and I won't repeat all of it here (I couldn't if I wanted to), but I will say this - it is a stunning track that the band should definitely be proud of. It is pure Iron Maiden, with all the requisite changes and melodies (not to mention power and energy) of a great Maiden song, and Steve Harris has done one hell of a job writing this one all by himself. Special mention should be made regarding Nicko's drumming on the album. This may be his best all around performance since his debut in Maiden with Piece of Mind! He finds a groove on almost every song - including "Brigher Than a Thousand Suns," which features a 7/4 verse! His playing has both groove and flair, and he gives the album a little more life than it's two predecessors from a rhythmic standpoint. The production on AMOLAD is also a bit stronger than the last two albums - actually, I think it's their best produced album sonically since Powerslave. Kevin Shirley has done a fantastic job on that count. The one count against Shirley is that he doesn't seem to know how to stand up to Steve when he adds the mellow intros to some of the songs. While the intros on AMOLAD are better than the ones on the Maiden albums from the last 11 years, there are still a couple that we could do without - and more importantly that the songs could do without "Lord of Light," and "Benjamin Breeg." Still, they do sound better than on recent albums, so that is a step in the right direction. The songs on the album are generally quite long, and some fans do find them harder to get through as a result. Many others find the songs much richer and more rewarding due to their lengh and complexity, but it should be noted that fans of the more straightforward and shorter Maiden songs may have some issues with the progressive leanings of this album. Overall, while it's not a perfect album by any means, it is still an album of great depth and sophistication, and it is an album that grows on you with repeated listens. Well worth the time and effort to familiarize yourself with all of it's changes and complexity, A Matter of Life and Death is an album that the members of Iron Maiden should be proud of. (Originally written on September 5, 2006. Edited/Updated on August 15, 2009.)4.5/5
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Post by Erik Rupp on Aug 15, 2009 10:52:54 GMT -5
Dokken - Lightning Strikes Again (2008)Dokken released some of the 80's best Melodic Metal albums, including Breaking the Chains, Tooth and Nail, and Under Lock and Key, and released one more good album in Back for the Attack before tensions in the band split them apart. In the 90's they got back together and released the fantastic Dysfunctional album. That was an album that saw their 80's style updated to fit better in the grungy 90's without sacrificing the basic elements of their sound. Following that album they released the puzzling Shadowlife - and album of dark, grungy, alternative leaning songs that turned off many of their fans. Guitarist George Lynch parted ways with the band and they hired former Winger guitar player Reb Beach and released the much heralded Erase the Slate. Erase the Slate was much closer in style to their 80's sound than either of it's predecessors, and the album went a long way towards recapturing the fans turned off by Shadowlife. Reb Beach's stay in the band didn't last long, and he was replaced in turn by former Europe guitarist (and solo act) John Norum for the album Long Way Home. Long Way Home was an album that had many good songs, but ultimately suffered from the too many ballads syndrome. John Norum's songwriting contributions were fantastic, as his songs were darker and heavier but still based in the Melodic Metal stylings of his biggest influences (Thin Lizzy, UFO, Deep Purple), the only problem was that there were only four songs co-written by Norum, and the rest of the album was somewhat lackluster. Norum left the band not too long after the album's release. Enter Jon Levin. An unknown guitar player that most of Dokken's fans were skeptical could live up to the standards of George Lynch and Reb Beach. His first album with Dokken, Hell to Pay, wasn't the killer album that fans wanted (and it featured an absolutely horrible album cover). Sure, there are a few great songs, just like it's predecessor, Long Way Home, but there is also some filler and not enough HEAVY material overall (the first half of the album is great, the 2nd half is mediocre). Confidence that Jon Levin was the right guy for the job wasn't exactly high. It wasn't really all that low, either, as Don Dokken took most of the heat for the less heavy material on the last two albums. All of which leads to this. Lightning Strikes Again. The pre-release statements from Don Dokken were that this was the album where Dokken would once again return to their 80's style that long time fans had missed on the previous two releases. The album title, Lightning Strikes Again was picked out before songwriting for the album was even completed. Named after one of their more popular heavy songs from the 80's, Lightning Strikes Again had a lot of high expectations to live up to. Originally slated for a Summer 2007 release the album was delayed 9 months, creating more anticipation - and even higher expectations to live up to. So does Lightning Strikes Again live up to all the pre-release hype? Yes. And no. It is VERY similar in style to parts of Under Lock and Key, as well as having bits vaguely reminiscent of Tooth and Nail and Back for the Attack, but there are also elements of Dysfunctional, Erase the Slate, Long Way Home, and even Hell to Pay. It's not 1986, so to expect Don, Jon, Mick, and Barry to be able to completely recapture the mindset of the mid-80's was perhaps a bit unrealistic. However... Lightning Strikes Again does come very close to recapturing the mid 80's style that Dokken played so well. Part of the problem is that Don's voice has taken a beating over the last 25 years and his vocal range is noticeably smaller than it was back in the mid 80's. That creates a bit of a problem in recreating that era musically, but it also leads to one of the album's strengths - a VERY strong melodic sensability. The other main strength of the album is Jon Levin's songwriting and performance. On Lightning Strikes Again Levin is clearly channelling George Lynch. He's not so much ripping off George's style as he gets into the mindset that fits this type of music best - as Lynch did in the 80's. This is the album where Jon Levin proves that Don Dokken's confidence in him was well founded. "Standing on the Outside," leads off the album in style. With a riff that is more than a little similar to "It's Not Love," there is a welcome familiarity to the song, and the fantastic vocal melodies and hooks also help give this one a familiar feel. There are also more than a couple similarities to "Dream Warriors," in this one (the chugging riff and overall mid tempo groove). This is a great song that would have been a big hit in 1986. "Give Me a Reason," is just as good as the opening track. A Tooth and Nail-ish riff ("Into the Fire," by way of Back for the Attack) with a more melodic vocal where Don Dokken sounds like HE is channelling someone - in this case former Rough Cutt vocalist Paul Shortino. In a couple of spots you could be forgiven for thinking that it WAS Shortino. This is a very, very strong song, and would have made for another hit back in the 80's. "Heart to Stone," would fit in perfectly on Under Lock and Key, and maybe even on Back for the Attack. A solid mid-tempo rocker with more great vocal hooks this is further proof that Dokken is one of the very best at what they do. Then we come to "Disease." This is Dokken in the 90's, more or less. Taking equally from Dysfunctional, Shadowlife, and Erase the Slate, "Disease," is heavy, syncopated, and fairly dark. And just really good. It's one of those songs that gets stuck in your head for hours. The first deviation from the mid 80's theme is a good one. A really good one. Up next is the first of two ballads, "How I Miss Your Smile." This barely qualifies as a POWER ballad as it's not all that powerful, but it is well written and has a nice melody and a sweet chorus that almost sounds like something ripped out of a 70's song and thrown in an 80's Power Ballad. Things get back to the heavier side (although not a lot heavier) witht the slightly haunting, "Oasis." "Oasis," again borrows a bit from their 90's material melding the 80's and 90's versions of Dokken seamlessly in this moody mid-tempo song with another great chorus. "Point of No Return," is the fastest song on the album, and it recalls Tooth and Nail (the album) a bit, but it also sounds a bit like Mindcrime-era Queensryche with the guitar lick in the chorus. Lots of hanging chords and a focus on the vocal melody without a killer riff keep this from being a great track, but it is still good and a burst of energy that the album needs, so that can be forgiven. "I Remember," has an acoustic guitar part that starts off eerily similar to the recent "It's Been Awhile," by Staind, but the rest of the song is pure Dokken in the "Alone Again," or "Slippin' Away," mode. Not as good, but close. Following the second and final ballad on the album Dokken comes back with another classic styled song in, "Judgment Day," which has a riff and vocal melodies that again would fit right in on Under Lock and Key. It's another album highlight. "It Means," starts off with a "When Heaven Comes Down," type riff and maintains that slow grind throughout the verse, while the chorus has a very melodic vocal melody (of course). A solid album track. "Release Me," is another mid-tempo song, this one more melodic and less heavy than the rest, though. It's not quite a ballad, but it isn't a real, "Rocker," either. It's a tweener. It should come as no surprise that this more 90's leaning song is very strong melodically with yet another strong chorus vocal hook. A heavier, faster song in place of this one might have been a better idea, though (which would have led to a slightly different track listing arrangement in all likelihood). The album closes out with one of the faster and heavier songs on the album, "This Fire." Unlike a lot of Dokken's "fast and heavy," songs, this one relies on vocal melody and harmonies in the chorus rather than an aggressive vocal from Don. Again, Don's voice isn't as strong as it was 20 years ago, and his range isn't what it was back then so that may be a big part of the reason for his lack of aggressiveness vocally throughout the album. This is a strong track, though, and the melody and harmonies work extremely well and are very effective. As a whole Lightning Strikes Again pretty much achieves what Dokken set out to accomplish - returning to their roots and recapturing a sound that they had strayed from a little over the last 15 years. This is an album that likely would have been very successful in 1986. In 2008 it's likely only going to recapture a relatively small number of fans who haven't bought a new Dokken album since Back for the Attack, but those who do buy it will be very pleased with the results. Lightning Strikes Again is one of Dokken's better albums, and a welcome return to form. (Review written on June 14, 2008)4.5/5
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Post by Erik Rupp on Aug 15, 2009 10:09:50 GMT -5
Judas Priest - Nostradamus (2008)Judas Priest is back! Well, with that over with, now that they're back (their 2nd album since reuniting with Metal God Rob Halford), what are they doing? What they're doing is exactly what KISS did in the Fall of 1981 - they're dividing their fans into two groups thanks to a new Concept Album. For KISS it nearly killed their career. What will Nostradamus do for Judas Priest this late in their career? Well, let's discuss the album first. Disc 1 is largely unlistenable. Sure, there are some strong points here and there, but not much that resembles the style that Judas Priest has been known for over the last 30+ years. There's a lot of synthisizers and synth strings (or are those real strings?), and dark, mellow interludes in between almost all of the "real" songs. This is not a disc to put in for a long drive. Or a short one, for that matter. Disc 2 is better, but still suffers from the same problems as disc 1. The upside of this disc is that there are some real songs here, and it begins to resembe JUDAS PRIEST in more spots. In fact, there are a few tracks that sound downright Sad Wings of Destiny-esque. If disc 1 had been as good as disc 2 there would be a lot less grumbling from the hard core Judas Priest fans. There would still be some, but a lot less than there are now. Even so, disc 2 is still not a good candidate to pop in the CD player while driving. Nostradamus is the type of album that went over well in the 70's - put on the album, put on your headphones, break out the lyric sheet and credits and listen intently for an hour or so. It's ambitious, it's theatrical, and it is very deep. There are more than a few Pink Floyd type moments here, and that's pretty shocking coming from Judas Priest. Unfortunately, there is not a lot of memorable material on the album - the catchy riffs just aren't there (not like a Judas Priest album should have, anyway), and the strong vocal hooks are few and far between. There is some substance to be had, but not enough to make up for all the failings of this set. Maybe if they had taken the best 12 SONGS and released that as the new album it would have worked better. I'm sure it would have, but unfortunately what we're left with is an bloated, overblown concept album that just doesn't work they way they seem to have intended. If you are a Judas Priest fanatic, then by all means - pick this one up and try it out (out of curiosity if nothing else). There are some songs here that are pretty good. If you're one of those fans who skips an album here or there because it just isn't up to the usual standards then this might be a good one to pass on. While The Elder has been dividing KISS fans for over 26 years. Nostradamus seems to have done that in 26 hours! It's not all bad, but it isn't the album that most of Judas Priest's fans wanted. The big question is this... With The Elder everyone knew (or strongly suspected) that KISS would be back (and they did come roaring back with Creatures of the Night less than a year later), but at this late stage of Priest's career it's a little less certain that THEY will come roaring back with a killer album (or any more new albums). Can they do it? Let's hope that they can. (Original review - June 21, 2008. Edited/Updated August 15, 2009.)2.5/5
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Post by Erik Rupp on Aug 15, 2009 9:54:04 GMT -5
AIRBOURNE - Runnin' Wild (2007)Just when it seemed like classic styled traditional Hard Rock had been left in the past or only used as something of a campy, tongue in cheek gimmick, a band came screaming out of Australia. That band was Airbourne. Airbourne has, rightly, been compared to AC/DC, but also has some clear influences from other Australian Hard Rock bands like Rose Tattoo and The Angels (Angel City), among others. Also likely influencing this rowdy band from Down Under are bands like Motorhead, early Aerosmith, early KISS, Ted Nugent, and Guns 'N' Roses. Having said all of that, AC/DC is obviously the biggest influence on Airbourne, something that gives the album it's charm. Runnin' Wild features absolutely NOTHING new stylistically, but what it does feature are eleven ass kicking Hard Rock tracks with attitude to spare to go along with the solid riffs and great hooks. The energy and passion coming from this band on this album is undeniable, and it is infectious. Let's face it, it's hard NOT to start playing air guitar to tracks like, "Runnin' Wild," and "Stand Up For Rock and Roll." It's hard NOT to start singing along to the hooks for songs like, "Diamond in the Rough," and "Too Much, Too Young, Too Fast." Runnin' Wild brings one killer song after another in rapid fire succession, with just enough stylistic variation to keep the album from having that, "Samey," kind of feel (where all the songs start to run together and sound the same). Other highlights include the frantic, "Blackjack," the more goove-laden, "Cheap Wine & Cheaper Women" (which has something of a, "Walk This Way," Aerosmith kind of riff), and the infectious, "Heartbreaker." The production on Runnin' Wild (the album) is outstanding. Producer Bob Marlette did a great job of laying down the tracks with Engineer Dave Schiffman, and Andy Wallace & John O'Mahony did a great job with the mix, showing off the bands energy and power. Sure, as noted before, this album features nothing new musically. But while it may be largely a re-hash of stuff done 20 or 30 years ago it is done with such enthusiasm and honesty that it works. Not just a little, but it works brilliantly. On Runnin' Wild Airbourne perfectly captures what makes this type of Rock and Roll so great. It's fun, and that's what Rock and Roll was all about in the first place. Interestingly enough, this album is just another example of history repeating itself. There was (and still is) a band out of Switzerland called Krokus who was accused in the early 80's - like Airbourne now - of, "Ripping off," AC/DC's style. Krokus' 1982 album One Vice at a Time was another great take on a classic Hard Rock style. That album was, and is, just as good as much of AC/DC's material - as is most of Runnin' Wild - which makes any stylistic borrowings completely forgivable. (And a lot of people don't realize that AC/DC borrowed heavily from the band Status Quo when developing their style, so AC/DC wasn't exactly original, either!) Bottom line? If you like AC/DC or rowdy Hard Rock with great hooks then chances are that you'll really like Airbourne's Runnin' Wild! 4.5/5
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Post by Erik Rupp on Aug 15, 2009 3:06:57 GMT -5
When I decided to go ahead and start a site/board to post album reviews, I tried to think of a name that worked for me. From 1986 to 1994 I worked at an independent record store called Vista Records and Tapes in Vista, California. It was a great store. While we carried plenty of copies of the hits, we also had a good selection of lesser known Jazz, Heavy Metal, and Alternative groups and we carried a good selection of import records and CD's. (Erik - 1988) It was there that I first started reviewing albums. My reviews were both verbal (giving the customers my views on the albums they may be interested in) and in print on flyers. Since that was a fun time for me, and I enjoyed doing that, I decided to call the website/board, "Vista Records." And there is a bit of a double meaning to it since vista does mean, "View," and you'll be getting views (and reviews) on albums on this website. So hopefully you'll enjoy the reviews and find them helpful. Thanks!
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Post by Erik Rupp on Aug 13, 2009 8:31:44 GMT -5
KISS - Self Titled Debut (1974)Four guys from New York City (or, more precicely, Brooklyn, Queens, and the Bronx), formed a band in 1973 with lofty goals, but little focus initially. By mid 1973, though, there was a focus - especially musically. While the band also spent a lot of time developing their visual image, they had also been developing their musical catalog for well over a year by that point - from the time that Paul Stanley (guitar/vocals) and Gene Simmons (bass/vocals) led the band Wicked Lester to a recording contract with Epic Records (a deal they essentially walked away from when they became dissatisfied with both the band and the unreleased album that they recorded in 1972). The musical catalog that Paul and Gene had developed, along with lead guitarist Ace Frehley and drummer Peter Criss, was actually impressive enough that former Buddah Records executive Neil Bogart was willing to sign KISS as the debut band/release for his brand new label, Casablanca. Bogart signed them on the strength of their five song demo (recorded by the legendary Eddie Kramer), without having seen the band live. Bogart actually believed so strongly in their music that he suggested that they may want to drop the visual image that the band had developed. It didn't take much convincing from KISS manager Bill Aucoin, however, that there were all sorts of marketing possibilities with an image like that, and that they were sure to grab attention with such an over the top look. A look that for many has far overshadowed the music, but one listen to their debut album shows that KISS really knew how to write and perform some great hard-edged Rock and Roll. Kenny Kerner and Richie Wise were hired by Neil Bogart and Bill Aucoin to produce the debut KISS album, and their job was pretty much to sift through all of KISS' material up to that point to pick the best songs and then get solid performances down on tape. That's just what they did. The album opener, "Strutter," sets the tone for the album. From the explosive drum intro to the great guitar riffs to Gene Simmons' bass part that recalls both Paul McCartney and much of the 60's R&B bass playing, "Strutter," truly is a great Rock and Roll song. KISS has long been known for a band that writes catchy chorus hooks, and this song is no exeption - except that the chorus hook here is the guitar riff, and not the vocal part. KISS was very adept at writing guitar riffs that are as memorable as most bands' vocal hooks, and, "Strutter," is a great example of that. Another noteworthy aspect of the song is Ace Frehley's guitar solo. Simple, but tasteful, and very tast-y. It is a great example of an understated solo that fits the song perfectly, and is memorable in it's own right. "Nothin' To Lose," is, in some respects, a throwaway Retro-Rock song. 50's Rock and Roll was becoming popular again to a certain degree at that point, and Gene Simmons wrote a song that took 50's Rock and put it on steroids (much like what Ted Nugent was doing in the mid 70's). While it isn't the great song that, "Strutter," is, it is still a solid track that holds up well live. Upon repeated listening it is also a song that seems to get stronger. It's one of those songs that many listeners (including myself) warm up to over time. Peter Criss adds quite a bit with his vocal responses to Gene's singing in the chorus. If, "Strutter," set the tone, then Paul Stanley kept with that tone on, "Firehouse." This one's a little slower, with a killer groove, and it is a great companion to the opening track. The riff has a certain, "Rolling Stones by way of Led Zeppelin," kind of feel to it (sort of Jimmy Page playing a slower, heavier version of the riff from, "Satisfaction"), and the vocal melodies are infectious. That is in part because of Paul Stanley's outstanding vocal performance. Often overshadowed by KISS' image, Paul Stanley is actually a very, very good singer, and, "Firehouse," is a great example of his singing ability. Ace Frehley's first songwriting contribution to KISS comes in the form of, "Cold Gin," a song with another monumental guitar riff and memorable chorus. The one possible weakness in the song is Peter Criss' spastic drumming in the chorus. It almost sounds like he's having a seizure, but it worked for many Rock fans in the 70's. The middle section of the song features some great instrumental riffing among the KISS frontline. From there the album moves back to more of that Retro-Rock feel with, "Let Me Know." This is a song that dates back to at least 1971, and maybe earlier. It was the first song that Paul Stanley played for Gene Simmons when they met. Again, this isn't a great song, but it is very good. It is surprisingly upbeat and happy, and features some very nice vocal harmonies. The coda riff would be recycled and reused live with different songs (most notably, "She," from ALIVE), and it is another big, rocking riff. At the urging of Casablanca President Neil Bogart and manager Bill Aucoin the band went back into the studio after the album had been released to record a cover of Bobby Rydell's, "Twisting Time," (renamed, "Kissin' Time") for the purpose of using it when the band would make appearances at kissing contests (which were somewhat popular at the time). What the band didn't know was that Bogart planned to add it to the 2nd and all subsequent pressings of the debut album. It was also released as a single. While the members of KISS went along with this idea, they were less than thrilled. The song isn't as bad as they thought - it's actually very catchy and KISS' arrangement of the song almost makes it sound like one of their own compositions. Almost. It was, and remains, one of the weak spots on the album, but the song isn't bad. The next song, however, not only isn't bad, it's as far removed from bad as you can get. "Deuce," is one of the iconic KISS songs. Gene Simmons reworked the riff for the Stones', "Bitch," and turned it on it's ear. With Paul Stanley's Raspberries-esque guitar riff intro in place, "Deuce," is an explosive song that would become their live set opener for much of the next couple of years. The one true throwaway track on the album is the instrumental, "Love Theme from KISS." The title inspired by Mountain's, "Theme from an Imaginary Western," "Love Theme," actually sounds more like the Allman Brothers than Mountain. Again, not a bad song, per se, but more of a song without a whole lot of substance, and very little of KISS' energy that is present on all the other tracks on the album. The album closes out with two more of their best songs, "100,000 Years," and "Black Diamond." "100,000 Years," is a Paul Stanley written track centered around a fantastic, funky bass line. It's a bit of a science fiction song lyrically (one of the few times Paul would ever touch on that type of theme), but the song's strength is in the riffs and vocal melodies, and also in Peter Criss' funky, loose groove on the drums. It also features an unusual, building solo from Ace Frehley, one that, while repetitive, doesn't become grating (and doesn't wear out it's welcome) at all. The last song on the album, "Black Diamond," is a song that even many of the band's detractors will point to as a, "Good song." With a mellow acoustic intro and a soft vocal from Paul Stanley, the song then erupts into all sorts of dark musical fireworks centered around a mammoth set of riffs and Peter Criss' raspy vocals. That the song doesn't really end, but rather slows down and fades out in a dark, haunting exit is appropriate for the album. Many people don't take KISS seriously, musically, but listening to this album that is clearly a mistake. KISS may be a band designed to get attention for reasons other than their music, they didn't forget to write some good, and even great (on occasion) Rock and Roll songs. The audio production on KISS is, for a low budget album recorded at the end of 1973, not bad. It sounds crisp and clean, and has a certain warmth to it. The drums sound snappy and full, the guitars are crisp, but still have some warmth to them, and the bass tone is full, but still just punchy enough to cut through all the other instruments. Kenny Kerner, Richie Wise, and engineer Warren Dewey did a fine job given the amount of time allotted and the low rent studio they had to use. Despite a couple moments of either fluff or throwaway material, KISS is one of the strongest debut albums of the 1970's. 5/5
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Post by Erik Rupp on Aug 12, 2009 23:01:29 GMT -5
Welcome to Vista Records, a new internet home for album reviews and discussion. Over the next few weeks and months we will post reviews on a regular basis covering both new and classic albums (and everything in between).
You will be welcome to add your own comments to the discussion, with the only provision being that your comments must maintain at least a semblance of courtesy and respect towards the other board members.
Enjoy!
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