ATLANTIC CITY BY WAY OF THE NORTH POLE:
A TRANS-SIBERIAN ORCHESTRA LIVE REVIEW
America's Playground in the East was painted red and green Dec. 28 when the Trans-Siberian Orchestra decked the halls in Atlantic City. Though the symphonic-rock collective has been touring annually every holiday season since 1999, the Boardwalk Hall concert marked TSO's debut A.C. engagement.
Featuring a group of tuxedo-clad rock musicians backed by an eight-piece orchestra, TSO wowed the crowd with their rearrangements of holiday standards and well-known classical pieces, plus original seasonal compositions and a laser-light show. Originals like "An Angel Came Down" and "This Christmas Day" boasted a distinct Broadway feel with booming, dramatic vocals buoyed by crunchy and melodic arena-rock riffs. Think the Great White Way meets the Sunset Strip in the North Pole and you're there.
TSO dedicated nearly two hours to a track-by-track enactment of their multiplatinum 1996 debut, Christmas Eve & Other Stories, using a baritone-voiced narrator between songs to detail the album's tale of an angel seeking the true meaning of the holiday spirit on Earth.
One of the set's many highlights was "Christmas Eve Sarajevo 12/24," a hit single that's nearly ubiquitous on radio at this time of year. The tune blended holiday favorites like "God Rest Ye Merry Gentlemen" and "Carol of the Bells" with blazing fretwork courtesy of guitarists Chris Caffery and Alex Skolnick -- themselves members of '80s metal bands like Savatage and Testament, respectively.
After a short intermission, the group returned to the stage and cut loose for another hour of jamming that combined edgy rock guitar playing with the classical flair of composers like Beethoven and Mozart.
By the end of the evening, however, exactly what constituted yuletide music was open to debate; a rendition of Carl Orff's brooding "O Fortuna" from the band's forthcoming Night Castle album was neither holly nor jolly. But the concert's final selection -- a full-cast reprise of "Christmas Eve Sarajevo 12/24" that was laden with pyrotechnic blasts -- brought TSO right back into the holiday spirit. In the end, the far-reaching blend of classical and rock music ensured that concertgoers would find something for everyone on their Christmas "Liszt."
Saturday, January 13, 2007
Thursday, November 30, 2006
Hair Apparent: Vain
(Editor's note: This is the latest installment in a series about albums that don't quite qualify in the Lost Classics category, yet still warrant a closer look.)
Like many bands from the era, San Francisco's Vain should have been more popular than they were. Charismatic frontman Davy Vain got his start as a producer on Death Angel's first album. But his eponymous outfit had nothing to do stylistically with the Bay area thrash sound. Instead, Vain offered a tough yet accessible mainstream sound that focused on hooks, while visually going for a dark glam image.
No Respect rips out of the gates like a winner with the first cut, "Secrets." As a brutal and jagged rhythm guitar riff erupts out of the right speaker, Vain himself starts cooing before abruptly erupting into a scream ("Nah-nah-nah-no secrets") as the rest of the band's syncopated slamming begins. This is raw, energetic rock from a band that sounds like it's been in the gutter for ages.
How do you follow-up an opening salvo like that? With "Beat the Bullet," the disc's first single. "Bullet" opens with a rumble of bass and slashes of wah-wah guitar, the interplay of guitarists Danny West and James Scott recalling that of Guns N' Roses axemen Slash and Izzy Stradlin.
By the time you get to the seventh cut -- the title track -- Vain are really hitting their stride and stretching out to encompass more sonic textures. "No Respect" opens with an element of mystery as chiming harmonics and somber acoustic fretwork obscures cryptic whispering. But the unplugged intro is just subterfuge; the song locks into a blasting guitar-and-drums groove soon enough and Vain's vocal delivery goes from hushed to dark and urgent. This is one vocalist who has a great command of dynamics.
Another nuanced vocal (and band) performance comes in "Without You." The only bona fide ballad on the album, "Without You" is also the longest cut on No Respect. Vain milks his voice for emotion, while the band adds a touch of orchestration for dramatic effect. But what it takes nearly six minutes for the act to say a better group could probably pull off in little more than half the time. The lyrics (see below) might be a little forced too, but they're very right for the time period.
Vain, No Respect (Island, 1989)
The Big Idea: Glam rock gets mean, down and dirty
Choice Cuts: "Secrets," "Beat the Bullet," "No Respect" and "Without You"
Sonic Brethren: Spread Eagle, Skid Row and Guns N' Roses
Fun Fact: Davy Vain is the cousin of metal songstress Lana Lane
Like many bands from the era, San Francisco's Vain should have been more popular than they were. Charismatic frontman Davy Vain got his start as a producer on Death Angel's first album. But his eponymous outfit had nothing to do stylistically with the Bay area thrash sound. Instead, Vain offered a tough yet accessible mainstream sound that focused on hooks, while visually going for a dark glam image.
No Respect rips out of the gates like a winner with the first cut, "Secrets." As a brutal and jagged rhythm guitar riff erupts out of the right speaker, Vain himself starts cooing before abruptly erupting into a scream ("Nah-nah-nah-no secrets") as the rest of the band's syncopated slamming begins. This is raw, energetic rock from a band that sounds like it's been in the gutter for ages.
How do you follow-up an opening salvo like that? With "Beat the Bullet," the disc's first single. "Bullet" opens with a rumble of bass and slashes of wah-wah guitar, the interplay of guitarists Danny West and James Scott recalling that of Guns N' Roses axemen Slash and Izzy Stradlin.
By the time you get to the seventh cut -- the title track -- Vain are really hitting their stride and stretching out to encompass more sonic textures. "No Respect" opens with an element of mystery as chiming harmonics and somber acoustic fretwork obscures cryptic whispering. But the unplugged intro is just subterfuge; the song locks into a blasting guitar-and-drums groove soon enough and Vain's vocal delivery goes from hushed to dark and urgent. This is one vocalist who has a great command of dynamics.
Another nuanced vocal (and band) performance comes in "Without You." The only bona fide ballad on the album, "Without You" is also the longest cut on No Respect. Vain milks his voice for emotion, while the band adds a touch of orchestration for dramatic effect. But what it takes nearly six minutes for the act to say a better group could probably pull off in little more than half the time. The lyrics (see below) might be a little forced too, but they're very right for the time period.
"Like a candle in the wind / I'm easy to put out / Like the picture through your window / You see right through my heart"Any momentum that might be lost on "Without You" is regained on the disc's final track, "Ready." At two minutes, 59 seconds, "Ready" is a punk-fueled romp through the "Johnny B. Goode" riff. It's a crucial cut that extols the virtues of partying and rock & roll at 140 beats per minute. This track would have made a great set closer in concert, with guitarists West and Scott trading off wild, reckless licks as the rhythm section kicks the tune into double time for a breathless finish. A perfect end to an almost perfect album.
Tuesday, November 21, 2006
Vintage Ozzfest Picture
I snapped this one in 2000 in Holmdel, N.J. Pantera's Phil Anselmo was a wild man and put on a great performance.
Wednesday, November 01, 2006
Europe's Secret Society CD review
Here's a track-by-track review of Europe's forthcoming Secret Society album. The disc hits stores Nov. 7 via Sanctuary Records.
"Secret Society"
The first words out of Joey Tempest's mouth on this album (literally) are "Runnin' against the line / against the time" delivered in a sing-songy a capella refrain before the tune kicks in. Indeed, those lyrics are something of a metaphor for this album as a whole. Secret Society finds the band bucking the trend of '80s bands reuniting to rehash the musical past; instead Europe go all guns blazing into uncharted sonic territory on this new album.
"Secret Society" is marked by an Eastern flavor, with Tempest using his voice as an instrument to deliver melodic wails like a mystic communing with God. The track is anchored by the Audioslave-like riffing of John Norum. The guitarist spices things up with some very trippy leads in the vein of Steve Vai or Joe Satriani. Dynamics are the key to this cut, with the music making sudden stops and starts that allow Tempest's vocals to feel very expansive.
"Always the Pretenders"
This tune is the disc's first single, but doesn't expect some light fluff. "Always the Pretenders" would be at home on the airwaves of any rock radio station that values chunky guitars, memorable hooks and meaningful songwriting. The tune is angsty and edgy, while not losing sight of the melody. Norum rips into a tense solo that just heightens the drama. Best of all, this song has what I like to call iceberg lyrics -- those words that hint at just enough for you to create a narrative, but never fully reveal what lies beneath. Here's a sample of what I mean, culled from the refrain:
It all adds up to a very cinematic listening experience. It's been said that talking about music is like dancing about architecture. Well, I'll one-up that and say that if "Always the Pretenders" were a movie, it would be a nail-biter like Memento.
"Love Is Not the Enemy"
This is one for the real riff freaks among you, with its overtones of the Gothenburg sound. Of course, we're not really talking melodic death metal here; instead this is just a finely crafted pop tune with a riff that could almost pass for one from In Flames.
"Wish I Could Believe"
Now we arrive at the first mid-tempo song of the bunch. It's like a power ballad with keyboardist Mic Michaeli gently caressing his ivories and providing some synthesized orchestration. If I'm not mistaken, Norum also plays slide on this tune making it a little reminiscent of something off Queensrÿche's Hear in the Now Frontier. Lyrically, Tempest details what sounds like either a crisis of faith or a failed relationship: "Wish I could believe in God / So I can move ahead." Definitely one of the most existential tracks on the album.
"Let the Children Play"
This song really encapsulates a lot of what makes this album so unique. First off, the riffs: they're rhythmic, angular, choppy and very modern.
They do just about everything to distance themselves from the standard '80s sound that is possible. But they work because they lead into hooks that are built on familiar chord changes. Secondly, Europe aren't afraid to take a chance when songwriting. On this cut, that means including a children's choir to startling effect. Is this the best tune on the album? No way, but it really helped me gauge the kind of adventurous songwriting the band is practicing these days.
"Human After All"
Don't be fooled by the classical orchestration that fades in at the start of this track. This is one of the grittier numbers on Secret Society, both in terms of lyrics and overall sound. Tempest's vocals have a bluesy, tight feeling as if he's almost choking back some of the lyrics for dramatic effect. This is a rhythmically driven, bass-heavy cut that's highlighted by the orchestral strains of Michaeli's keyboard.
"Getaway Plan"
The riff here with its disjointed phrasing conveys a lot of tension and excitement. Couple that with the lyrical description of a man on a mission and "Getaway Plan" feels like it belongs in a James Bond movie. At first I thought this tune might be the nadir of the album because it feels a little too sonically similar to "Human After All" and comes right on the back of that song. But now I'll say that this is just another rocker that lays down a thick groove and should appeal to fans of Norum's meaty and mighty six-string attack.
"A Mother's Son"
After the frenzy of "Getaway Plan," the band kicks it down a notch with this song. It's very ballady, very dark and very morose. This is a particularly downbeat moment before the tempo picks up again for a trio of tunes that ends the album.
"Forever Travelling"
This song seems to be Europe's tribute to San Francisco. We're not talking sonically -- this ain't no thrash metal monster -- but rather lyrically. Tempest sings "Somewhere in my mind I'm under the Golden Gate / Somewhere in my heart I'm in the city by the bay / Sometimes I can feel the wheel in [the] sky, it's still turning" right before the solo. Perhaps the last line is a reference to "Wheel in the Sky" by Bay area band Journey?
"Brave and Beautiful Soul"
A lot of people say it's hard to take rock artists seriously these days. I think the opposite is true. Whether it's Tom Morello, Serj Tankian or Bono, everyone seems to have a political or humanitarian cause they support. They all want to be taken too seriously.
Well, count Europe among those who also seek to move hearts and minds with their music. But Tempest & Co. aren't self-righteous about their beliefs. It's hard to say exactly what cause or injustice "B & B Soul" addresses, if any. I could speculate that the song is about third world debt, Darfur or AIDS in Africa. After all, the lyrics are printed on top of artist Dan Abbott's sketch of the continent featuring a woman's face near South Africa.
But really "B & B Soul" is a song is about letting yourself care about others, and seems to be one of the more personal songs on Secret Society. Opening with a very crushing and modern riff, Norum's guitar work again has something of the Gothenburg sound here.
Meanwhile, Tempest isn't afraid of critics who think rockers should just shut up and sing. In fact, he has a pointed message for them: "Well here's to you all cynical / Here's the ammunition that you need / Here's another song about empathy / Please yourselves think what you will." Later he gives us a real chestnut of wisdom from the heart: "An emotional response [is] sometimes better than an intellectual one." Sing on, Joey.
"Devil Sings the Blues"
At last, the final countdown is over and here we are at the end of the album. "Devil Sings the Blues" opens with an arpeggio that sounds almost drop-tuned in the vein of grunge rock or Black Sabbath.
The opening line -- "Today I'm the dirt beneath your feet / at your beck and call" -- has shades of Walt Whitman's Leaves of Grass. Actually, Tempest's lyrical persona bears a lot of similarity to that of the Good Gray Poet himself. The singer is on a quest for unity with all things. And judging by the lyrics -- "And my heart is open / and my eyes are open / today I give my life to you / and my arms are open / and my faith is open / today the devil sings the blues" -- it sounds like he's found it.
This track is the longest on the album, checking in at five minutes, 24 seconds. It's the closest thing to an epic we get on Secret Society. Norum's axe is the last sound we hear as he rips a guitar hero worthy solo that goes for nearly two minutes before the tune fades off into the sunset. A great finish to a great album.
"Secret Society"
The first words out of Joey Tempest's mouth on this album (literally) are "Runnin' against the line / against the time" delivered in a sing-songy a capella refrain before the tune kicks in. Indeed, those lyrics are something of a metaphor for this album as a whole. Secret Society finds the band bucking the trend of '80s bands reuniting to rehash the musical past; instead Europe go all guns blazing into uncharted sonic territory on this new album.
"Secret Society" is marked by an Eastern flavor, with Tempest using his voice as an instrument to deliver melodic wails like a mystic communing with God. The track is anchored by the Audioslave-like riffing of John Norum. The guitarist spices things up with some very trippy leads in the vein of Steve Vai or Joe Satriani. Dynamics are the key to this cut, with the music making sudden stops and starts that allow Tempest's vocals to feel very expansive.
"Always the Pretenders"
This tune is the disc's first single, but doesn't expect some light fluff. "Always the Pretenders" would be at home on the airwaves of any rock radio station that values chunky guitars, memorable hooks and meaningful songwriting. The tune is angsty and edgy, while not losing sight of the melody. Norum rips into a tense solo that just heightens the drama. Best of all, this song has what I like to call iceberg lyrics -- those words that hint at just enough for you to create a narrative, but never fully reveal what lies beneath. Here's a sample of what I mean, culled from the refrain:
"All I can remember / All I can recall is you / Telling me there's been an accident / Always the pretenders / Always thought that love would do / Everyday I miss your innocence"
It all adds up to a very cinematic listening experience. It's been said that talking about music is like dancing about architecture. Well, I'll one-up that and say that if "Always the Pretenders" were a movie, it would be a nail-biter like Memento.
"Love Is Not the Enemy"
This is one for the real riff freaks among you, with its overtones of the Gothenburg sound. Of course, we're not really talking melodic death metal here; instead this is just a finely crafted pop tune with a riff that could almost pass for one from In Flames.
"Wish I Could Believe"
Now we arrive at the first mid-tempo song of the bunch. It's like a power ballad with keyboardist Mic Michaeli gently caressing his ivories and providing some synthesized orchestration. If I'm not mistaken, Norum also plays slide on this tune making it a little reminiscent of something off Queensrÿche's Hear in the Now Frontier. Lyrically, Tempest details what sounds like either a crisis of faith or a failed relationship: "Wish I could believe in God / So I can move ahead." Definitely one of the most existential tracks on the album.
"Let the Children Play"
This song really encapsulates a lot of what makes this album so unique. First off, the riffs: they're rhythmic, angular, choppy and very modern.
They do just about everything to distance themselves from the standard '80s sound that is possible. But they work because they lead into hooks that are built on familiar chord changes. Secondly, Europe aren't afraid to take a chance when songwriting. On this cut, that means including a children's choir to startling effect. Is this the best tune on the album? No way, but it really helped me gauge the kind of adventurous songwriting the band is practicing these days."Human After All"
Don't be fooled by the classical orchestration that fades in at the start of this track. This is one of the grittier numbers on Secret Society, both in terms of lyrics and overall sound. Tempest's vocals have a bluesy, tight feeling as if he's almost choking back some of the lyrics for dramatic effect. This is a rhythmically driven, bass-heavy cut that's highlighted by the orchestral strains of Michaeli's keyboard.
"Getaway Plan"
The riff here with its disjointed phrasing conveys a lot of tension and excitement. Couple that with the lyrical description of a man on a mission and "Getaway Plan" feels like it belongs in a James Bond movie. At first I thought this tune might be the nadir of the album because it feels a little too sonically similar to "Human After All" and comes right on the back of that song. But now I'll say that this is just another rocker that lays down a thick groove and should appeal to fans of Norum's meaty and mighty six-string attack.
"A Mother's Son"
After the frenzy of "Getaway Plan," the band kicks it down a notch with this song. It's very ballady, very dark and very morose. This is a particularly downbeat moment before the tempo picks up again for a trio of tunes that ends the album.
"Forever Travelling"
This song seems to be Europe's tribute to San Francisco. We're not talking sonically -- this ain't no thrash metal monster -- but rather lyrically. Tempest sings "Somewhere in my mind I'm under the Golden Gate / Somewhere in my heart I'm in the city by the bay / Sometimes I can feel the wheel in [the] sky, it's still turning" right before the solo. Perhaps the last line is a reference to "Wheel in the Sky" by Bay area band Journey?
"Brave and Beautiful Soul"
A lot of people say it's hard to take rock artists seriously these days. I think the opposite is true. Whether it's Tom Morello, Serj Tankian or Bono, everyone seems to have a political or humanitarian cause they support. They all want to be taken too seriously.
Well, count Europe among those who also seek to move hearts and minds with their music. But Tempest & Co. aren't self-righteous about their beliefs. It's hard to say exactly what cause or injustice "B & B Soul" addresses, if any. I could speculate that the song is about third world debt, Darfur or AIDS in Africa. After all, the lyrics are printed on top of artist Dan Abbott's sketch of the continent featuring a woman's face near South Africa.
But really "B & B Soul" is a song is about letting yourself care about others, and seems to be one of the more personal songs on Secret Society. Opening with a very crushing and modern riff, Norum's guitar work again has something of the Gothenburg sound here.
Meanwhile, Tempest isn't afraid of critics who think rockers should just shut up and sing. In fact, he has a pointed message for them: "Well here's to you all cynical / Here's the ammunition that you need / Here's another song about empathy / Please yourselves think what you will." Later he gives us a real chestnut of wisdom from the heart: "An emotional response [is] sometimes better than an intellectual one." Sing on, Joey.
"Devil Sings the Blues"
At last, the final countdown is over and here we are at the end of the album. "Devil Sings the Blues" opens with an arpeggio that sounds almost drop-tuned in the vein of grunge rock or Black Sabbath.
The opening line -- "Today I'm the dirt beneath your feet / at your beck and call" -- has shades of Walt Whitman's Leaves of Grass. Actually, Tempest's lyrical persona bears a lot of similarity to that of the Good Gray Poet himself. The singer is on a quest for unity with all things. And judging by the lyrics -- "And my heart is open / and my eyes are open / today I give my life to you / and my arms are open / and my faith is open / today the devil sings the blues" -- it sounds like he's found it.
This track is the longest on the album, checking in at five minutes, 24 seconds. It's the closest thing to an epic we get on Secret Society. Norum's axe is the last sound we hear as he rips a guitar hero worthy solo that goes for nearly two minutes before the tune fades off into the sunset. A great finish to a great album.
Whatdya Mean I Don't Support Your System
. . . I Go To Court When I Have To!
After spending Monday and Tuesday serving jury duty, I now hope to return to semi-regular posting. Look for that Europe review shortly.
After spending Monday and Tuesday serving jury duty, I now hope to return to semi-regular posting. Look for that Europe review shortly.
Friday, October 27, 2006
Final Countdown to Europe's New Album
I'm listening to an advance of the new Europe CD, Secret Society, and have to say it might be my favorite album of 2006. This is a truly modern effort -- this ain't your father's Europe -- but it has a really strong emphasis on good hooks. The subject matter is mature and the songwriting memorable and emotional throughout. A full track-by-track review will be posted in the coming days. The disc hits stores Nov. 7 via Sanctuary.
Thursday, October 26, 2006
Metal God Readying New Solo Material
While work on the new Judas Priest album continues, Rob Halford is readying new material from his solo band. A new Halford track titled "Forgotten Generation" will hit iTunes on Nov. 21.
According to a press release, writing sessions for a new solo album titled Halford IV currently are underway. In addition to "Forgotten Generation," those sessions have so far yielded another new tune called "Drop Out." Both "Forgotten Generation" and "Drop Out" will be available on the forthcoming compilation Halford - Metal God Essentials - Volume 1. No word yet on a release date for the MGE platter.
In other news, Halford has tapped two new members for his solo group: guitarist Roy Z. and bassist Mike Davis.
According to a press release, writing sessions for a new solo album titled Halford IV currently are underway. In addition to "Forgotten Generation," those sessions have so far yielded another new tune called "Drop Out." Both "Forgotten Generation" and "Drop Out" will be available on the forthcoming compilation Halford - Metal God Essentials - Volume 1. No word yet on a release date for the MGE platter.
In other news, Halford has tapped two new members for his solo group: guitarist Roy Z. and bassist Mike Davis.
Tuesday, October 24, 2006
Anthrax Guitarist To Open Nightclub
Bringing the Noise to the New York Nightlife Scene
The New York Post is reporting that Scott Ian plans to open a nightclub in New York's Chelsea district on Halloween. The Anthrax guitarist reportedly has christened the club Retox with business partner Mike Diamond, who has launched several other successful nightspots in the Big Apple.
Rap group Cypress Hill is slated to perform during the Oct. 31 opening, while Ian himself will take the stage with Five for Fighting sometime next month. How's that for an odd juxtaposition?
The New York Post is reporting that Scott Ian plans to open a nightclub in New York's Chelsea district on Halloween. The Anthrax guitarist reportedly has christened the club Retox with business partner Mike Diamond, who has launched several other successful nightspots in the Big Apple.
Rap group Cypress Hill is slated to perform during the Oct. 31 opening, while Ian himself will take the stage with Five for Fighting sometime next month. How's that for an odd juxtaposition?
Friday, October 20, 2006
Skid Row's Revolutions Per Minute CD review
Here's a track-by-track review of Skid Row's forthcoming Revolutions Per Minute album. The disc hits stores Oct. 24 via the SPV label.
"Disease"
Opening with some discordant riffing and the first of many screams courtesy of frontman Johnny Solinger, there's no doubt that this record is an aggressive affair. But will it have the melody to make it memorable? Only repeated listens will yield that answer. For now I can say the guitar solo here is sludgy and heavy on the wah-wah in a Jerry Cantrell kind of way. In fact, think Alice in Chains and you'll have an idea of what's going on in this opening cut.
"Another Dick in the System"
This track is likely to be a cool one in concert. It's a no-nonsense hard rocker that ends with a "Hey . . . hey . . . hey" chant that should get audiences pumped to sing along. Guitarists Dave "Snake" Sabo and Scotti Hill trade some unique licks with a Nashville twang/rockabilly feel in the solo.
"Pulling My Heart Out From Under Me"
Here is really the first time we get a taste of the slightly gothic vocal style Solinger is rocking on this album. His deep baritone complements this dark tale of love lost. Just as you tire of his voice creeping along like a convalescent, he rips into some throaty screams. His nuanced vocal performance is the highlight of this cut.
"When God Can't Wait"
An absolute raucous two minute, 13 second blast of melodic punk energy and one of the best tracks on the disc. It sounds like a cross between vintage Misfits and an Irish pub rock act such as the Pogues. This cut will be remembered as a latter-day Skid Row classic.
"Shut Up Baby, I Love You"
The punk rudeness continues on yet another tale of scorned love. I'd have to say this tune bears the most similarity to some of the harder-edged Skid Row material of the Sebastian Bach days. Perhaps it's the riotous gangs vocals, which scream the title during the chorus, or the bass-heavy groove, but "Shut Up Baby, I Love You" should definitely appeal to fans of old-school tunes like "Piece of Me" or "Slave to the Grind."
"Strength"
This cover of the Alarm classic is a bit left field, but one of the more memorable tunes on the album. "Strength" boasts an anthemic and uplifting message of survival and is the longest cut on the disc at just over five minutes. Hill and Sabo get into some great slurred harmonics on the verses. I believe "slurred harmonics" is the correct name for the guitar technique. But if not, think about the trickling guitar sound on the title track of Iron Maiden's Killers once that tune kicks in and you'll know what I'm talking about.
"White Trash"
The lyrics to this tune have the kind of tongue-in-cheek irony that a lot of early Black Flag had. As such, it picks up on the punk rock thread that runs through RPM. Musically, this is short and concise, with Solinger delivering most of his lines in a kind of talking blues format. This song even features a mean harmonica solo to boot! Yet because the lyrics are (intentionally) silly, I'll have to say this is my least favorite cut on the album.
"You Lie"
Here's where Solinger -- a Texas native -- really lets his Lone Star roots hang out. "You Lie" is outlaw country music through and through. Solinger hurls curses and other invectives at an unfaithful woman, while the band twangs away with a four-on-the-floor pattern. Just when you think there's nary a distortion pedal to be heard, the song takes a metalized turn -- right after a very vintage rockabilly-style guitar solo. From country to metal in under three minutes, that's quite a journey!
An alternate country-fried mix of "You Lie" -- replete with added harmonica and pedal steel guitar -- is offered as a bonus track on the version of RPM that I have.
"Nothing"
The search for a bona fide '80s anthem stops here! "Nothing" has all the harmony and hooks of a Bach-era outtake -- and that's a good thing. And that guitar solo: short but absolutely blazing with all the melody that characterized the band's most memorable leads. Put this one on repeat.
"Love Is Dead"
Just in time for Halloween, the Skids get into a little Type O Negative/Bronx Casket Company groove. The riffing takes lurching stop and starts, while Solinger's voice delves into the deeper registers again for this spooky tune. Right around the two-minute mark, the group works in a breakdown that sounds quite similar to the one in the title track from Ozzy Osbourne's No More Tears. "Love Is Dead" would fit well on the soundtrack of a B-movie horror flick.
"Let It Ride"
Solinger & Co. end the album on a hard and heavy note. "Let It Ride" seems to be an ode to life in a rock & roll band. It boasts another ripping guitar solo, but otherwise this track is mediocre. Thankfully, it's in and out in under three minutes.
"You Lie" (Bonus Track)
See comments above in the "You Lie" entry.
"Disease"
Opening with some discordant riffing and the first of many screams courtesy of frontman Johnny Solinger, there's no doubt that this record is an aggressive affair. But will it have the melody to make it memorable? Only repeated listens will yield that answer. For now I can say the guitar solo here is sludgy and heavy on the wah-wah in a Jerry Cantrell kind of way. In fact, think Alice in Chains and you'll have an idea of what's going on in this opening cut.
"Another Dick in the System"
This track is likely to be a cool one in concert. It's a no-nonsense hard rocker that ends with a "Hey . . . hey . . . hey" chant that should get audiences pumped to sing along. Guitarists Dave "Snake" Sabo and Scotti Hill trade some unique licks with a Nashville twang/rockabilly feel in the solo.
"Pulling My Heart Out From Under Me"
Here is really the first time we get a taste of the slightly gothic vocal style Solinger is rocking on this album. His deep baritone complements this dark tale of love lost. Just as you tire of his voice creeping along like a convalescent, he rips into some throaty screams. His nuanced vocal performance is the highlight of this cut.
"When God Can't Wait"
An absolute raucous two minute, 13 second blast of melodic punk energy and one of the best tracks on the disc. It sounds like a cross between vintage Misfits and an Irish pub rock act such as the Pogues. This cut will be remembered as a latter-day Skid Row classic.
"Shut Up Baby, I Love You"
The punk rudeness continues on yet another tale of scorned love. I'd have to say this tune bears the most similarity to some of the harder-edged Skid Row material of the Sebastian Bach days. Perhaps it's the riotous gangs vocals, which scream the title during the chorus, or the bass-heavy groove, but "Shut Up Baby, I Love You" should definitely appeal to fans of old-school tunes like "Piece of Me" or "Slave to the Grind."
"Strength"
This cover of the Alarm classic is a bit left field, but one of the more memorable tunes on the album. "Strength" boasts an anthemic and uplifting message of survival and is the longest cut on the disc at just over five minutes. Hill and Sabo get into some great slurred harmonics on the verses. I believe "slurred harmonics" is the correct name for the guitar technique. But if not, think about the trickling guitar sound on the title track of Iron Maiden's Killers once that tune kicks in and you'll know what I'm talking about.
"White Trash"
The lyrics to this tune have the kind of tongue-in-cheek irony that a lot of early Black Flag had. As such, it picks up on the punk rock thread that runs through RPM. Musically, this is short and concise, with Solinger delivering most of his lines in a kind of talking blues format. This song even features a mean harmonica solo to boot! Yet because the lyrics are (intentionally) silly, I'll have to say this is my least favorite cut on the album.
"You Lie"
Here's where Solinger -- a Texas native -- really lets his Lone Star roots hang out. "You Lie" is outlaw country music through and through. Solinger hurls curses and other invectives at an unfaithful woman, while the band twangs away with a four-on-the-floor pattern. Just when you think there's nary a distortion pedal to be heard, the song takes a metalized turn -- right after a very vintage rockabilly-style guitar solo. From country to metal in under three minutes, that's quite a journey!
An alternate country-fried mix of "You Lie" -- replete with added harmonica and pedal steel guitar -- is offered as a bonus track on the version of RPM that I have.
"Nothing"
The search for a bona fide '80s anthem stops here! "Nothing" has all the harmony and hooks of a Bach-era outtake -- and that's a good thing. And that guitar solo: short but absolutely blazing with all the melody that characterized the band's most memorable leads. Put this one on repeat.
"Love Is Dead"
Just in time for Halloween, the Skids get into a little Type O Negative/Bronx Casket Company groove. The riffing takes lurching stop and starts, while Solinger's voice delves into the deeper registers again for this spooky tune. Right around the two-minute mark, the group works in a breakdown that sounds quite similar to the one in the title track from Ozzy Osbourne's No More Tears. "Love Is Dead" would fit well on the soundtrack of a B-movie horror flick.
"Let It Ride"
Solinger & Co. end the album on a hard and heavy note. "Let It Ride" seems to be an ode to life in a rock & roll band. It boasts another ripping guitar solo, but otherwise this track is mediocre. Thankfully, it's in and out in under three minutes.
"You Lie" (Bonus Track)
See comments above in the "You Lie" entry.
Thursday, October 19, 2006
Early Thoughts on New Skid Row Album
I have been quite busy this week, but I wanted to post some preliminary thoughts about the new Skid Row album, Revolutions Per Minute, due Tuesday via SPV Records. I have an advanced review copy and have listened to it once, so my commentary is likely to change when I post a full track-by-track album review shortly.
First off, this is a much different band than the one that recorded Skid Row or even Slave to the Grind. It's not simply that Sebastian Bach is gone and has been replaced by Johnny Solinger. The band no longer seems to want to focus on incorporating melodic riffs into their songwriting. Instead much of the album is garden variety '90s nü-metal aggression. More often than not Solinger is screaming instead of trying to get an '80s-like sheen to his voice. It's a matter of taste really, but my initial impression is that it doesn't work for me.
One of the great things about 2003's Thickskin was the sheer number of melodic, sing along moments. There's not one to be found on RPM, unless you count "You Lie," which is a very country-music inspired ditty. A few of the better moments on RPM include "When God Can't Wait," which sounds like a rowdy, Irish punk bar anthem and "Love Is Dead" (if I remember correctly) which sounds a little gothic, almost in the vein of Type O Negative. Full report to come . . .
First off, this is a much different band than the one that recorded Skid Row or even Slave to the Grind. It's not simply that Sebastian Bach is gone and has been replaced by Johnny Solinger. The band no longer seems to want to focus on incorporating melodic riffs into their songwriting. Instead much of the album is garden variety '90s nü-metal aggression. More often than not Solinger is screaming instead of trying to get an '80s-like sheen to his voice. It's a matter of taste really, but my initial impression is that it doesn't work for me.
One of the great things about 2003's Thickskin was the sheer number of melodic, sing along moments. There's not one to be found on RPM, unless you count "You Lie," which is a very country-music inspired ditty. A few of the better moments on RPM include "When God Can't Wait," which sounds like a rowdy, Irish punk bar anthem and "Love Is Dead" (if I remember correctly) which sounds a little gothic, almost in the vein of Type O Negative. Full report to come . . .
Wednesday, October 11, 2006
Hair Apparent: Two-Bit Thief
(Editor's note: This is the fourth installment in a series about old albums that don't quite qualify in the Lost Classics category, yet still warrant a closer look.)
San Francisco is best remembered for its thrash-metal scene, but the city also yielded some great bands in other genres. Two-Bit Thief was among the non-thrash acts that called the Bay area home. The group's debut disc, Another Sad Story . . . In the Big City, showed a lot of promise, but never amounted to much for the band.
Much like Junkyard or Manitoba's Wild Kingdom, TBT featured musicians who came up in the punk rock scene and wanted to explore a more commercial hard rock sound. Indeed, vocalist Andy 'Airborne' Andersen, guitarist Chris Scaparro, bassist Rick Strahl and drummer Eric Brecht all recorded with the crossover act Attitude Adjustment. The only "new" member in TBT was guitarist Ron Shipes.
Despite the group's roots, the only remnant of hardcore music is the shouted gang vocals that adorn several of Another Sad Story's 12 tracks. Otherwise, this is (mostly) straight-up gritty hard rock from the gutter, with an occasional thrash riff worked in for good measure. Bouts of slide guitar give the record a rootsy feel in a few places, while Brecht conjures up the specter of Guns N' Roses' Steven Adler through the liberal use of his cowbell.
The self-righteous social consciousness of thrash seeps into the lyrics of "Industry" and "Crime," but otherwise Another Sad Story is an unrepentant 42-minute joyride that revels in the vices of urban decay. Standout tracks include "Desperado" and "Folsom Prison Blues." The former is a tale of gambling that provided the likely inspiration for the album's cover shoot. Meanwhile, the latter is an ingenious re-working of the Johnny Cash classic that draws equally from punk rock, metal and rockabilly all in the space of two minutes and 40 seconds. It's nice to see a band cover someone other than the usual suspects. Not quite as inspired is the album's closer, a cover of Rose Tattoo's "Remedy."
Another Sad Story ultimately didn't have the commercial muscle the band had hoped. Regardless, this is a strong effort and a pleasant departure from the standard Bay area sound.
Two-Bit Thief, Another Sad Story . . . In the Big City (Combat, 1990)
The Big Idea: Former crossover act tries to re-invent itself as edgy hard-rock band
Choice Cuts: "Desperado," "Folsom Prison Blues," "Broken Hearts" and "Hard Times"
Sonic Brethren: Circus of Power, Junkyard, Manitoba's Wild Kingdom
San Francisco is best remembered for its thrash-metal scene, but the city also yielded some great bands in other genres. Two-Bit Thief was among the non-thrash acts that called the Bay area home. The group's debut disc, Another Sad Story . . . In the Big City, showed a lot of promise, but never amounted to much for the band.
Much like Junkyard or Manitoba's Wild Kingdom, TBT featured musicians who came up in the punk rock scene and wanted to explore a more commercial hard rock sound. Indeed, vocalist Andy 'Airborne' Andersen, guitarist Chris Scaparro, bassist Rick Strahl and drummer Eric Brecht all recorded with the crossover act Attitude Adjustment. The only "new" member in TBT was guitarist Ron Shipes.
Despite the group's roots, the only remnant of hardcore music is the shouted gang vocals that adorn several of Another Sad Story's 12 tracks. Otherwise, this is (mostly) straight-up gritty hard rock from the gutter, with an occasional thrash riff worked in for good measure. Bouts of slide guitar give the record a rootsy feel in a few places, while Brecht conjures up the specter of Guns N' Roses' Steven Adler through the liberal use of his cowbell.
The self-righteous social consciousness of thrash seeps into the lyrics of "Industry" and "Crime," but otherwise Another Sad Story is an unrepentant 42-minute joyride that revels in the vices of urban decay. Standout tracks include "Desperado" and "Folsom Prison Blues." The former is a tale of gambling that provided the likely inspiration for the album's cover shoot. Meanwhile, the latter is an ingenious re-working of the Johnny Cash classic that draws equally from punk rock, metal and rockabilly all in the space of two minutes and 40 seconds. It's nice to see a band cover someone other than the usual suspects. Not quite as inspired is the album's closer, a cover of Rose Tattoo's "Remedy."
Another Sad Story ultimately didn't have the commercial muscle the band had hoped. Regardless, this is a strong effort and a pleasant departure from the standard Bay area sound.
Tuesday, October 10, 2006
Happy Birthday to David Lee Roth
Editor's note: In honor of the ex-Van Halen singer's 53rd birthday today, Metal-Mixtape revisits his least appreciated album.
David Lee Roth didn't stand a chance when he released Your Filthy Little Mouth in 1994. The real problem wasn't that the shredding licks of ailing ace guitarist Jason Becker were gone. It wasn't that the epicenter of the music industry had shifted from Los Angeles to Seattle, nor that he tapped longtime friend/Chic guitarist Nile Rodgers to help him go pop. It wasn't even that Roth's trademark mane had been toned down in favor of a sedate shoulder-length coif for the album.
The true dilemma was a severe crisis in the songwriting department. Your Filthy Little Mouth suffers from the lack of focus that arises when artists try to borrow from too many musical styles. Tunes like "Cheatin' Heart Cafe" (featuring country star Travis Tritt) and "Hey, You Never Know" are nods to Nashville-fried honky tonk, while "No Big 'Ting" features Jamaican rapper Mitchielous in a lame attempt to tap into the world music market. Then there's "You're Breathin' It," a funk-heavy tall tale about urban living that mixes its metaphors by featuring some very rural harmonica playing. To make matters worse, the song gets the "Urban NYC Mix" treatment at the end of the album. When was the last time you bought a David Lee Roth record to hear a remix?
While dross dominates, there are some redeeming moments. "Big Train" is perhaps one of Tyrannosaurus Roth's finest latter day compositions and hits with the visceral impact of an early Van Halen boogie. Meanwhile, Diamond Dave's cover of "Night Life" by Willie Nelson has all the slow and gritty grace of a Motown soul ballad. But in the end, Your Filthy Little Mouth became Roth's swan song. It was the last platter he recorded for a major label. Worse still, it marked the end of a 16-year partnership with the Warner Bros. Records family that dated back to the first VH album. What started as a valiant attempt to expand his audience resulted in Roth dropping the ball altogether.
David Lee Roth didn't stand a chance when he released Your Filthy Little Mouth in 1994. The real problem wasn't that the shredding licks of ailing ace guitarist Jason Becker were gone. It wasn't that the epicenter of the music industry had shifted from Los Angeles to Seattle, nor that he tapped longtime friend/Chic guitarist Nile Rodgers to help him go pop. It wasn't even that Roth's trademark mane had been toned down in favor of a sedate shoulder-length coif for the album.
The true dilemma was a severe crisis in the songwriting department. Your Filthy Little Mouth suffers from the lack of focus that arises when artists try to borrow from too many musical styles. Tunes like "Cheatin' Heart Cafe" (featuring country star Travis Tritt) and "Hey, You Never Know" are nods to Nashville-fried honky tonk, while "No Big 'Ting" features Jamaican rapper Mitchielous in a lame attempt to tap into the world music market. Then there's "You're Breathin' It," a funk-heavy tall tale about urban living that mixes its metaphors by featuring some very rural harmonica playing. To make matters worse, the song gets the "Urban NYC Mix" treatment at the end of the album. When was the last time you bought a David Lee Roth record to hear a remix?
While dross dominates, there are some redeeming moments. "Big Train" is perhaps one of Tyrannosaurus Roth's finest latter day compositions and hits with the visceral impact of an early Van Halen boogie. Meanwhile, Diamond Dave's cover of "Night Life" by Willie Nelson has all the slow and gritty grace of a Motown soul ballad. But in the end, Your Filthy Little Mouth became Roth's swan song. It was the last platter he recorded for a major label. Worse still, it marked the end of a 16-year partnership with the Warner Bros. Records family that dated back to the first VH album. What started as a valiant attempt to expand his audience resulted in Roth dropping the ball altogether.
Friday, October 06, 2006
Twisted Sister: Yule Hear It First
Frontman Dee Snider & Co. Ready Christmas Album
Twisted Sister plan to celebrate the holidays with the October 17 release of A Twisted Christmas through Razor & Tie Records. The seasonal platter will feature 10 tracks that marry Christmas songs with stylistic nods to specific heavy metal bands. "I think I made the comment that we should do a Christmas record," guitarist Jay Jay French tells Billboard. "And [frontman] Dee [Snider] said, 'You know, "Come All Ye Faithful" is actually "We're Not Gonna Take It." I think I subliminally stole the melody.' So we recorded 'We're Not Gonna Take It' and put 'Come All Ye Faithful' in, and it worked with some changes."
The six-stringer also notes that the Twisted version of "Come All Ye Faithful" will feature "a Black Sabbath version of 'Hava Nagilah' at the end of the song." In addition, Lita Ford will join the band on a version of "I'll Be Home for Christmas."
Log on to Twisted Sister's official website to hear clips from the upcoming album and check out the full track list.
Twisted Sister plan to celebrate the holidays with the October 17 release of A Twisted Christmas through Razor & Tie Records. The seasonal platter will feature 10 tracks that marry Christmas songs with stylistic nods to specific heavy metal bands. "I think I made the comment that we should do a Christmas record," guitarist Jay Jay French tells Billboard. "And [frontman] Dee [Snider] said, 'You know, "Come All Ye Faithful" is actually "We're Not Gonna Take It." I think I subliminally stole the melody.' So we recorded 'We're Not Gonna Take It' and put 'Come All Ye Faithful' in, and it worked with some changes."
The six-stringer also notes that the Twisted version of "Come All Ye Faithful" will feature "a Black Sabbath version of 'Hava Nagilah' at the end of the song." In addition, Lita Ford will join the band on a version of "I'll Be Home for Christmas."
Log on to Twisted Sister's official website to hear clips from the upcoming album and check out the full track list.
Thursday, October 05, 2006
Kiss of Death Latin Lingo Revealed!
No, It Doesn't Say 'Dr. Rock Is Going To Shoot You Full of Rock N Roll!'
I recently posted the Latin inscription that graces Motörhead's Kiss of Death CD booklet on a Latin forum. One kind soul responded to my query about its meaning. Below is the translation I received.
Once again, here's the original Latin inscription from the CD booklet:
I recently posted the Latin inscription that graces Motörhead's Kiss of Death CD booklet on a Latin forum. One kind soul responded to my query about its meaning. Below is the translation I received.
"Born as conquered, all will die
Believe in no-one (This should be nemini), go freely
to walk through the ocean of very many souls, he barely wets his feet (I think there is a mistake in the Latin here)
Whatever you are doing, we have done first and better"
Once again, here's the original Latin inscription from the CD booklet:
"NATI VT VICTI, OMNES MORITVRI
NEMIMI CREDE, AGE SOLVTE
AMBVLARE PER PLVRIMARVM ANIMARVM OCEANVM PEDES VIX MADEFACIT
QVODCVMQVE FACIS, NOS PRIMI, ET MELIVS, FECIMVS"
Wednesday, October 04, 2006
Skid Row Line Up Gratis Gig
Event To Celebrate Release of Upcoming Album
Skid Row have announced an October 29 record-release party at New York's Hard Rock Cafe. Frontman Johnny Solinger & Co. will take the stage to perform selections from their upcoming album, Revolutions Per Minute, along with greatest hits from the band's glory days. The event will also double as radio DJ Eddie Trunk's annual Halloween bash. Admission is free.
Revolutions Per Minute is due out October 24 on SPV/Steamhammer. Meanwhile, a full-fledged tour in support of the disc will kick off October 31 at a venue still to be announced.
Skid Row have announced an October 29 record-release party at New York's Hard Rock Cafe. Frontman Johnny Solinger & Co. will take the stage to perform selections from their upcoming album, Revolutions Per Minute, along with greatest hits from the band's glory days. The event will also double as radio DJ Eddie Trunk's annual Halloween bash. Admission is free.
Revolutions Per Minute is due out October 24 on SPV/Steamhammer. Meanwhile, a full-fledged tour in support of the disc will kick off October 31 at a venue still to be announced.
Tuesday, October 03, 2006
Slash Shills Cars and Guitars
Live and Let Ride
Former Guns N' Roses guitarist Slash (pictured right) is among the rockers set to appear in upcoming ads for a new partnership between guitar maker First Act and auto manufacturer Volkswagen. Drives who buy or lease one of six Volkswagen cars will receive a First Act GarageMaster electric guitar customized to match the color of their new ride. The axe also will be co-branded with the VW logo. Spinal Tap character Nigel Tufnel (aka actor Christopher Guest) is among the other personalities also slated to appear in the forthcoming sales campaign.
Meanwhile, Slash and Cheap Trick guitarist Rick Nielsen will join Los Angeles all-star jam band Camp Freddy when the group performs Thursday on NBC's Tonight Show With Jay Leno. Slash & Co. will play a version of Cheap Trick's "Surrender."
Former Guns N' Roses guitarist Slash (pictured right) is among the rockers set to appear in upcoming ads for a new partnership between guitar maker First Act and auto manufacturer Volkswagen. Drives who buy or lease one of six Volkswagen cars will receive a First Act GarageMaster electric guitar customized to match the color of their new ride. The axe also will be co-branded with the VW logo. Spinal Tap character Nigel Tufnel (aka actor Christopher Guest) is among the other personalities also slated to appear in the forthcoming sales campaign.Meanwhile, Slash and Cheap Trick guitarist Rick Nielsen will join Los Angeles all-star jam band Camp Freddy when the group performs Thursday on NBC's Tonight Show With Jay Leno. Slash & Co. will play a version of Cheap Trick's "Surrender."
Monday, October 02, 2006
Should Great White Make a Comeback?
Great White recently announced they're preparing to cut a new album and return to the road. Guitarist Mark Kendall tells the Associated Press he believes there's a lot of popular support for the band to resume normal activities after the 2003 fire in a Rhode Island nightclub that killed 100 people. "These people [in the club] were like friends to us, not just rock fans," he reveals. "There's a fellowship with the surviving victims. ... We all get together, we hug, we cry. For the majority of the people, they all want to hear the band play."
Do you think Great White should return to doing what they do best after the tragedy?
1) Yes, Great White made some amazing hard rock music and it's time to put the Rhode Island tragedy behind them.
2) No, the band should show their remorse by hanging up their instruments -- permanently.
3) Write in here with your own response.
Friday, September 29, 2006
Vintage Anthrax Picture
Keep It in the Family
While attending a recent wedding on my wife's side of the family, I had the pleasure to chat with her older cousin Anthony S. Fiore, Jr. It turns out cousin Tony is a lifelong photographer and metalhead, so he and I had a great time talking about '80s metal. He told me he had some old-school pics from a record signing Anthrax did at the now-defunct Rock N' Roll Heaven record shop in Clark, New Jersey. The store was owned by John and Marsha Zazula of Megaforce Records fame and apparently counted ex-Overkill guitartist Bobby Gustafson among its employees.
I recently stumbled across the picture he was talking about on Anthrax's website. Cousin Tony is flanked by Charlie Benante, Joey Belladonna and Scott Ian. His brother, cousin David, is seen on the righthand side of the image throwing up the horns and nearly cuckolding Ian in the process! Cousin Tony also shot the band at a 2005 fan-only event in Sayreville, New Jersey. Some of his other music-related pics can be found here. I hope to be able to post other vintage metal pics from the Fiore archives in the future.
While attending a recent wedding on my wife's side of the family, I had the pleasure to chat with her older cousin Anthony S. Fiore, Jr. It turns out cousin Tony is a lifelong photographer and metalhead, so he and I had a great time talking about '80s metal. He told me he had some old-school pics from a record signing Anthrax did at the now-defunct Rock N' Roll Heaven record shop in Clark, New Jersey. The store was owned by John and Marsha Zazula of Megaforce Records fame and apparently counted ex-Overkill guitartist Bobby Gustafson among its employees.
I recently stumbled across the picture he was talking about on Anthrax's website. Cousin Tony is flanked by Charlie Benante, Joey Belladonna and Scott Ian. His brother, cousin David, is seen on the righthand side of the image throwing up the horns and nearly cuckolding Ian in the process! Cousin Tony also shot the band at a 2005 fan-only event in Sayreville, New Jersey. Some of his other music-related pics can be found here. I hope to be able to post other vintage metal pics from the Fiore archives in the future.
Wednesday, September 27, 2006
Randy Rhoads Vs. Randi Rhodes
What's in a Name?
Have you ever wanted to rename yourself after a dead rock star? That's exactly what Randi Rhodes (pictured right) did. Born Randi Bueten, the talk show personality hosts her own program on Air America Radio.
She rechristened herself in honor of the late guitarist Randy Rhoads (pictured left) of her own volition, not because of some dubious decision thrust on her by management. "I named myself after Ozzy Osbourne's guitar player," Rhodes recalled last year in a C-SPAN transcript. "And people think they're making some joke when they say, 'Oh, your named after' -- I did it on purpose . . . I thought of Randy Rhoads, who was a consummate professional. He had long blonde hair like me . . . He always practiced. I mean, he practiced eight hours a day. He lived to be the best. So I just loved his legend and I loved his professionalism and I loved Ozzy and I loved everything about that band. So I named myself Randi Rhodes."
In other bizarre metal moniker news, there's apparently a man impersonating Bruce Dickinson from his pre-Iron Maiden days. He goes by the name Bruce Bruce -- just as Dickinson did during his Samson years -- and was last seen perfecting a stand-up routine at comedy clubs across the country!
Have you ever wanted to rename yourself after a dead rock star? That's exactly what Randi Rhodes (pictured right) did. Born Randi Bueten, the talk show personality hosts her own program on Air America Radio.
She rechristened herself in honor of the late guitarist Randy Rhoads (pictured left) of her own volition, not because of some dubious decision thrust on her by management. "I named myself after Ozzy Osbourne's guitar player," Rhodes recalled last year in a C-SPAN transcript. "And people think they're making some joke when they say, 'Oh, your named after' -- I did it on purpose . . . I thought of Randy Rhoads, who was a consummate professional. He had long blonde hair like me . . . He always practiced. I mean, he practiced eight hours a day. He lived to be the best. So I just loved his legend and I loved his professionalism and I loved Ozzy and I loved everything about that band. So I named myself Randi Rhodes."
In other bizarre metal moniker news, there's apparently a man impersonating Bruce Dickinson from his pre-Iron Maiden days. He goes by the name Bruce Bruce -- just as Dickinson did during his Samson years -- and was last seen perfecting a stand-up routine at comedy clubs across the country!
Europe Start Their Own Secret Society
Joey Tempest & Co. Ready New Release
Europe have announced their new album, Secret Society, will hit stores Nov. 7 through Sanctuary Records. Secret Society features the band's original lineup -- singer Joey Tempest, guitarist John Norum, bassist John Leven, keyboardist Mic Michaeli and drummer Ian Haugland. The album's cover art was created by legendary graphic artist Storm Thorgerson, the man behind famous Pink Floyd, Led Zeppelin, Helloween and Bruce Dicksinson covers.
Europe have announced their new album, Secret Society, will hit stores Nov. 7 through Sanctuary Records. Secret Society features the band's original lineup -- singer Joey Tempest, guitarist John Norum, bassist John Leven, keyboardist Mic Michaeli and drummer Ian Haugland. The album's cover art was created by legendary graphic artist Storm Thorgerson, the man behind famous Pink Floyd, Led Zeppelin, Helloween and Bruce Dicksinson covers.
Do you think this Europe cover ranks among Thorgerson's classics?
1) Yes, it has all the elements that make his art so arresting.
2) No, he really dropped the ball on this one.
3) I could care less. I never thought Europe had cool covers anyway.
4) Write in with your own response!
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