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Click on a cover to see reviews from that issue |
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American Heartbreak - American Heartbreak
Word has it that this album was basically completed a year before its release, but then the band sat back and listened to it and chose to head back into the studio to make it better. If every band had that kind of care about the products that they put out, and took the time to seriously listen to their music and be more objective about it, maybe more bands would turn out records this strong. Is it the perfect album? No. Is it free of faults? No. But you can hear the care the band put into it all over the place.
If you’re not familiar with American Heartbreak, their style is pretty easy to define, they do a simple Rock and Roll with a dash of Punk and a dash of Bubblegum styled Pop. This time out they don’t try anything all that different than what has come on the previous album and EP, but they seem to have really sharpened their skills. The guitars work well together, and more noticeable this time out is how well they have started to use their backing vocals.
The album opens with “Somebody”, and this is quite familiar territory for the fans of A.H., as it starts with a standard Heartbreak style, including up to the verse with a single guitar backing the vocals. Then when we get to the chorus everybody joins in.
A beautiful thing about American H. is that when you put the CD on, you always know you will be able to keep the Rock going non-stop. They rarely go mellow.
The first sign of something seriously great going on with these guys is “Love Your Abuse”. This is where you start getting the impression of the great care put into these songs. Just listen to all the different runs and hooks the guitars pull out going from verse, to pre-chorus, to the chorus and back again. There is no sloppy songwriting going on and everything flows insanely well. But it’s not just the guitars on this song, it’s also the wonderful backing vocals again. The song grows from the very beginning and just gets larger and larger. This, kids, is what it is like to care about the “product” you are putting out.
Certain songs almost sound like they could easily be played on the radio. But there is a heart showing in these songs that is rarely heard on the radio. Listen to “Things Are Looking Up” and tell me it shouldn’t be played on the radio, and that it couldn’t be a hit. This is a “mellow” American Heartbreak song, by the way. But when they go mellow you never feel a loss of the momentum that they started in the beginning. It fits in more with a different groove, but you are still progressing.
Yes, the topic and style of “The Last Of The Superheros” has been done before by The Wildhearts with their “29x The Pain”. It’s a song all about the bands that the band loved in the 70’s and growing up, and the fact that both bands were into the same bands makes it a bit more of a retread. But the fact that Michael Butler (bassist for Heartbreak) is an unashamed Wildhearts/Ginger fan has to be remembered, and I would have no doubt this was a part of the song.
For my money, the disc is worth what you pay on three songs alone: “Love Your Abuse”, “Crawling” and the brilliant “Isolation”. These song alone make this a wonderful disc, the rest is all pure bonus.
I think the only complaint I have about American Heartbreak is that they seem to be a bit “melancholy” almost all the time. It’s their style. It’s an odd thing, but you have to be in the right frame of mind sometimes to listen to them. I get the impression that you will never get them just tearing the friggin’ place apart and raising hell just for the sake of raising hell. Though they might sing about doing such things, you always get the impression there is some sad reason for it. Hell, even when they want you to “Raise Up Your Hand”, in what should be a 100% ROCK anthem, they come across a little sad, like the world doesn’t really want to join them, and they know it, and that makes ‘em a little bummed out. Though…what’s the name of the band again? |
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Cheap Trick - Rockford
Yeah, speaking of artists who have been around awhile, we come to this new release from the legends, the one and only Cheap Trick! A band that has had so many “best album since…” releases it’s almost comical. As Rockford (named after their hometown and the town neighboring where I live) was getting ready to be released I was seeing reviews calling it their best since One On One, or even Dream Police. The funny thing about that is that this is also what was said about A Special One, and also the self titled that they did a few years ago. Plus, it can’t be overlooked that they had huge success in the 80’s with Lap Of Luxury, so obviously a bunch of people thought that was their best one since whatever one they thought was the bands previous best.
I think what people are getting at is that Cheap Trick has been around forever, and they have always turned out great music, but this one is most reminiscent of the sound on the earlier albums. This is true, as at times Robin Zander sounds identical to his old self, but he never really lost that. Some of the backing vocals are also classic Neilsen. Some of the riffs echo older riffs (compare “If It Takes A Lifetime” to, I think, “I Want Be Man” from the One On One album for example).
Songs like “Come On, Come On, Come On” are possibly the most “Classic Trick” songs, and would find their place comfortably mixed in with a “unreleased material” set claiming to be from ’81.
I’ve also always felt that Cheap Trick at times wanted to be The Beatles, or always liked to wear the Beatles influence right on their sleeves and never even consider hiding it. That continues on with the song “O Claire”. Which, by the way, I also wonder if it isn’t another tribute to a town as Eau Claire Wisconsin isn’t too far from where Trick is from, is a college town, and I seem to think they probably played there more than a few times. It’s just that whenever I hear the name of the song, and hear the song, I think of that dang town.
The album as a whole is very strong, but I still won’t place it alongside the first three Tricks, or my favorite One On One, but it beats the hell out of anything any other major band is doing now, especially any major band who once shared the Top 10 with Cheap Trick. A band like Aerosmith could only dream of being this “fresh” and still being this respectful of their past and fans. |
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Chinatown - Chinatown
If I ran the world and allowed only cool people to walk the streets and occupy my world, Chinatown would probably be the house band at the headquarters of my castle, at least as long as they released albums such as this self titled debut.
This is what Rock and Roll is all about kids: loud guitars, power, attitude, kicking riffs. This thing has it all in spades, including a cover that fits in the world of RnR.
Barring any miracle’s kids, this is easily the runaway favorite for the album of the year. It’s that good. We get the standard warning to run for cover of feedback and guitars scratching out our upcoming rhythm. Then “Move Out” kicks in, and you sit there amazed at how cool of a tune it is.
But then it ends and a thin guitar with a cool riff starts up, and then the drums build, and then it rolls in with a cool verse, only to lead way to a killer anthem style chorus telling us to “Shoot It Up” all night. Now, drugs have never been my thing, but at this point the boys have me believing that I need to shoot something up, and if it is going to lead to more of this stuff they are peddling, I’m cool with that.
“You look good, I look great”, indeed.
But then, well, “Streetlight Parasite” comes on, showcasing possibly the greatest chorus I have heard in 36 friggin’ years. After the first chorus that has sent your head swimming, you fall into the second verse, and you realize that sometimes a chorus to verse transition can be the coolest thing on the planet earth. But then we go back to the chorus and you remember that you have already encountered the coolest thing on earth, and it’s this fucking chorus!
“Destroy” is full of more of the same killer riffs and anthem choruses.
It never stops, “Revolution Love”, “Indians” on into the semi-power ballad “Slip Away” that is the type of tune Aerosmith once did well. Then back to the rolling moves of “Sweet Easy Action” and “Go All The Way”, it’s all riffs from the Gods and choruses and killer vocals that dreams are made of.
The album truly ends on the perfect closing track “Suddenly Hits Me” that ups the ante for the next album. The verse is mixed with a backing vocal that just screams for being the last song played during the night. It leads to a perfect “tear the place apart once and for all” finish.
The final track is an acoustic version of “Slip Away”, but I pretty much end every play with “Suddenly Hits Me”, it just works better that way for me.
The band has been around for a decent amount of time I am told, and it amazes me that we have not all heard of them before this album being released. They’re out of Canada, so if you find yourself up there, keep an eye out. They are easily one of the best bands recording in this world right now.
This is the type of album that makes kids grab airguitars and jump around in their rooms like idiots. This is the type of album that makes every kid in the world a rockstar for about a ½ hour in their bedrooms. It’s the type of album that makes us all rockstars while we drive around in our cars imagining it’s us making these beautiful sounds. It’s the type of album that makes you smile from ear to ear upon hearing it the first time, and that makes you scream when your friends put it on in the car, or at a party in the years to come. It’s a bond you will have with the “cool people”. It never grows old, only you do. |
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Faster Pussycat - The Power and the Glory Hole
When I started this ‘zine, and really when I started reviewing movies and music about 8 years ago, I swore to myself that I would always judge products on themselves individually. I wouldn’t let previous experience with a band, director, label, actor, whatever, get in the way. Each CD would be judged on it’s own merits. Each movie on it’s own.
But sometimes that is easier said than done.
I sit here with the new “Faster Pussycat” CD. The name gets quotes, because really there is nothing the same about this band and the band that released one brilliant album and two mediocre ones almost 20 years ago. The only thing that is the same is Taime Downe and Brent Muscat. Taime voice is still there, but it is the drone of the Newlydeads, not the great attitude of the early material.
So here it is, Industrial with the Pussycat name. We all knew it was happening, and we should all try and take it for what it is. Some people are able to. I’ve read more than one person say it is a natural progression from where they were at with Whipped, but that is just silly. At the time the band was showing “grunge” sounds, not industrial. Also, the last two singles out of the band were “Nonstop To Nowhere” and the cover of “You’re So Vain”, neither of which were remotely Industrial. Both of which were great songs that did the band proud.
But here now I get about 5 songs into it and I want to scream. It’s just not interesting to me. Song 3, “Useless”, has a decent hook on part of it, but it never goes anywhere. When I first heard the song start I could picture what a Taime circa 1991 might have done with it. But what Taime circa 2006 does is just, well, boring.
Greg Steele walked from the band upon their reformation a few years ago. At the time there was much mystery around why he left, and then there were rumors and the “official” reasons. None of which I remember anymore, or do I care about. In my mind he left because he didn’t want to play this crap.
Two final things:
I’ll take Shotgun Messiah’s “Sex Drugs Rock and Roll” over the Pussycat tune any day. Much more intense with a 1000x the power.
Can we all put a stop to people covering the godawful “These Boots Were Made For Walking”? Has there ever been a good version of this damn song, and I include the original piece of shit? It is easily one of the worst songs ever written, but for some reason people feel a need to cover the damn thing.
If you love the Newlydeads, you will probably like this thing. If you are looking for the old Pussycat, keep walking kids. This ain’t it. Not even close.
Hey look at that, a reformed band that doesn’t get my seal of approval.
A note of interest though. The other day I did a search for Pussycat on the ‘net. All you could find was a site for the new version, and it was at an address of www.powerandthegloryhole.com. That site still exists, but it no longer comes up in a search. Now when you search “Faster Pussycat” you are taken to www.fasterpussycat.com and the site references the 20 year anniversary. Maybe they have heard the complaints and know people would rather have Faster Pussycat as we once knew them? I know they are on the road now, but maybe, just maybe we will have the band that Kerrang said was “more Aerosmith than Aerosmith”? |
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Kevin K. - Rockin’ Roll Dynamite
Kevin K. has been kicking around the scene now for over 20 years. He’s been a regular on the highway to Hell and back ever since his early days with The Lone Cowboys. He’s lost years on the scene, friends, and even his closest ally, his brother Alan. Kevin is pretty much one of the most dedicated people on the scene. Not many would, or could endure what he has been through for so long.
This new release from Kevin comes on his umpteenth million record label, Full Breach Kicks. This is also his most professional looking release, so hopefully this will be a major turning point for our man Kevin.
Kevin has said that one of the things he has grown to enjoy is working with different musicians on each release, though from release to release he does tend to use many of the same people, just mixing them up. This time out Kevin decided to handle the majority of the drumming himself, with occasional assistance from long-time “Real Kool Kat” member Vincent Price III and Doc “Tijoux” Ayolee. Other members here are Jack O. Leroy on guitar and Ritchie Buzz on bass, both having worked with Kevin on his Sealed Works release.
But what about the tunes this time, I hear all of you asking. Well, if you have followed Kevin you pretty much can guess what you will get: Purely Poppy style tunes at moments, and then the dirty Rock and Roll style begun back in the late 70’s by Johnny Thunders and his Heartbreakers, but with a bit more grit to it. This time out, yes, it’s still the same thing for Kevin. This is both a blessing and a curse.
For my money, when Kevin is doing his “Pop” thing and doing it with no influence from Thunders, he is by far at his best. I know Kevin hates to hear that and insists that his “Thunder” style is him, but I don’t agree. Kevin has a better voice than Johnny could have ever dreamed of having, and he just might be a much better guitarist.
The album starts out with “Down In The Sewer”, one of Kevin’s dirty RnR numbers. It has a great, nasty, cutting riff to it and is meant to be thrown into your stereo when you get behind the wheel. Though at times you can hear the Thunders influence, it still never really falls into “rip-off” territory.
Title track “Rockin’ Roll Dynamite” is the type of song played in the strip clubs of hell. Pure trash, pure sleaze and conveys the image used on the back cover and inside cover quite well.
The rest of the album never fails in its attempts at just being strong RnR. Catchy hooks abound, along with great vocals from Kevin.
So where is Kevin strongest? When Kevin drops into the style such as on songs like “Call”, “Going Nowhere Fast” and “She”, there isn’t a songwriter who can top him. His “pop sensibilities” are second to none, and hooks are possibly some of the tastiest hooks ever written.
Through out the disc Kevin really does experiment a bit more than on previous efforts. I don’t think he has ever done a straight “stomp” type of tune like “Hillbilly Man” before, and I would love to hear that one done live with an audience that knows the song, or quickly catches on to the stomp and clap.
If you are a Kevin K. fan, you know you need this. If you are not a fan of his, you may as well start turning into one. Grab this since it is available right now, then track down past efforts such as Kiss Of Death, 13th Street or his best of called New York, New York. You’ll be glad you did. |
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McRackins - Bat Out of Shell
Have you ever wondered just what might have happened had Brian Wilson (from the Beach Boys for those of you just getting into this game of music) not lost his mind (O.K., for those of you just joining in, please go read a few articles on Brian and then rejoin our review, we’ll still be here, I promise) and had actually later in time found the Punk scene and then decided he really liked it and decided to start producing Punk bands and possibly helping them to write and arrange? Yeah, I’ve often wondered that one also, but thanks to the new release by McRackins that age old question has been answered!
From the very opening of “Summer Of Life”, our first song on the album, we get the idea that we are about to hear something pretty damn special. The song starts out a cappella and has a nice layer to it, and then our guitars blast in, along with a piano even. The verse works well enough, but the hooks come within the chorus as we are treated to layered vocals, piano, keyboards, claps, you name it, this song carries it. The line “I cruise with the top down” fits the song perfectly, as this song needs to be played at full volume while cruising down the highway.
I first heard “Summer Of Life” a few months ago when the band placed it on their My Space site. I fell head over heals with the song instantly, but wondered how the band could possibly top the song. Then when I got the CD and saw it was the first song I was really a bit worried. Would the best song be the first? How the hell could they top that song?
Well, they do so with song number 2. I thought the backing vocals on “Summer” were impressive, but they actually have nothing on “Loser Lament”. I have no idea if these guys can pull this stuff off live, and to tell you the truth this is a rare case where I don’t care if they can or can’t! Yes, it would be great if they could, but it also would have been a shame if they had chosen to not record these songs as is due to that.
“Burning Bridges”, the third song, and the third song to prove that this album is not going to let you down anytime soon, starts out with a riff similar to the old song “Bad Dog” by the band Too Much Joy. But quickly switches back to what is the sound of this album, brilliant layering and brilliantly done backing vocals.
So now we get to song 4, “Falling Over You”. By now we are expecting the vocals, and we get them. But this time the band also throws in a wonderful keyboard hook on our chorus to re-emphasize just how great those vocal hooks are. By this point on my first listen I was almost getting tired, albums this good take a lot out of me. They are the types of creatures that remind me of when I started finding the great bands 20+ years ago. They are the closest things to having my eyes opened for the first time.
Should I keep breaking this damn thing down song by song? You know what I am going to say, great vocals, great hooks, Beach Boys hanging with The Damned, The Ramones, and being inspired by Cheap Trick.
So yeah, anyway, “Dazed and Confused” which is song 5 for those keeping score, is more of the same, which is way better than it sounds. Don’t get me wrong, predictability is a damn good thing when the material is this good. What I heard on tracks 1-4 I didn’t want to stop, so when song 5 starts with the same thing, it’s a good thing.
But that brings me to song 6. The one “iffy” tune on the disc for me as it is basically a silly Ramones style bop tune. Yes, we get some “wah-ooo”’s in it, but it’s almost too silly for me. That’s not so much a slam on the song, but more of a personal taste issue.
Ya know dammit, I am going to stop giving a run down of each individual track at this point. You know by now what I am getting at with this thing, and I would hate for somebody to buy this thing and sit there with this damn review and use it as a checklist. “Oh, there is the keyboard bit he mentioned…there is the ‘waa-ooo’ thing, though I think there should be an extra ‘o’ in the review…” and all that kind of crap. Look, for me there is only one “bump in the road” and I feel bad about that one as it is similar to the stuff the band has done for 15 years.
Oh, side note, song number 8 called “Miss About” is a very impressive bit of songwriting. The changes and passages it goes through are very impressive. You need to hear it to really understand, but it has hooks you would never expect from the beginning. It also have about 20 millions parts it seems like. Damn fine song.
Sorry about that, but the song just came on and I remembered I wanted to single that one out.
Look, if you have heard anything from this band before, just understand this is possibly their finest and most impressive work. If you have heard anything from this album (aside from “Rub & Tug”), you need to understand that what you have heard is a sample of what is all over this thing. It doesn’t stop, and it never gets boring. One line in the first song explains the influence on this album: “One foot in the future/One foot in the past”. Plain and simple, if you enjoy great song writing, great arranging, and great backing vocals, you need to have this album. It’s a stunning release.
This was easily my pick for album of the year up until this point. But an odd thing happened, the drummer for the McRackins pointed me in the direction of the following band. |
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NY Dolls - One Day it Will Please Us to Remember Even This
Let’s be honest, when we all heard about The New York Dolls reforming we all gave a collective “what the fuck”, right? Then we thought to ourselves “what a monumentally stupid idea this is”. The band was reforming due to Morrissey wanting them to reform and Arthur Kane wanting to reform, for like the past 20 years. Now, I know we all know that Morrissey was a huge Dolls fan, and even did a fanzine for the band. I know we all know he loves the hell out of them. But still, how many of you actually were happy to see his name attached to this reunion? I see the man’s name and I want to puke. But hey, that’s just me. I know he has fans, and possibly more than I do. During the reunion Arthur Kane died. At the time I thought the whole reunion should die. But during the process of reuniting something happened. Arthur’s dreams came true, and the band realized they were good…really good. Back in the days of Thunders they knew they were good also, but they were also irresponsible and a few were junkies, so that got in the way.
The reformed Dolls enlisted the talents of a certain bassist named Sam Yaffa. For those of you who have been into the “scene” for more than a day know who Sam is. For those of you just joining us, Sam is an equal part legend as the Dolls themselves. Former bassist for Hanoi Rocks, Jetboy, Mad Jauna (his own band that was just O.K., but he loved it so we will list them) and 4 string thumper for a little lady named Joan Jett. So the guy stepping in to replace Arthur was basically the perfect choice. Not only was he a diehard Dolls fan to begin with, but also of equal status. He would obviously respect the position.
But still, there is no way that this album should be, or has any right to be, good, right?
I think one thing we all chose to forget is that Sylvain Sylvain is a hell of a songwriter. His post Dolls material could be argued to being on par with anything Thunders did, and in some ways maybe better. His guitar playing may not have been as “original” as Johnny’s (whatever is was that made Johnny original is up to the individual, was he good or just incredibly sloppy but had a “style” all his own), but in all reality Sylvain was/is a much more solid musician than Thunders was. This time out also they had the luxury of picking who was in the band and making sure the parts would work. They also had the luxury of “no substance abuse” this time out.
So when you sit back and look at all the things going into this release, it really should not be a surprise that the album is as strong as it is, and make no mistakes about it, it is very strong and does no disrespect to the musical legacy of the Dolls at all. The “personal” legacy might be another story, but I’ll hit that in the closing of the review.
Opening song “We’re All In Love” might not be pure Dolls in music, but the second that vocal starts, you feel like you are entering into a territory you haven’t been in for years. It’s a perfect opener for the album, as it might not be exactly what we are longing to hear, but it’s good enough to keep us tuned in.
Song two “Runnin’ Around” is right there, damn close to that old Dolls bit. The band is smart enough to use guitar fills that remind one of Thunders, but never sounds like somebody is ripping him off. It’s just as much Johnny as it is Chuck Berry. But certain riffs make you remember, and at times Johansen lands back in his old shoes perfectly.
“Plenty Of Music” is 100% Dolls in my opinion. It’s one of those slower Dolls songs, the kind that oddly enough always fit with their rowdy numbers.
“Dance Like A Monkey” has been mentioned many times around the ‘net by people comparing it to “Stranded In The Jungle”. That’s a pretty decent comparison, but I would take this song over the older song any day of the week. It carries the same style bounce and silliness, but for my money this is just a better song.
There are the odd mellow songs here and there, but they never drag things down. Then there are the songs in between mellow and rockin’, such as the brilliant “Dancin’ On The Lip Of A Volcano”. The backing vocals on this song dig deep into your head, beware.
The album carries more than enough traits of the old material that fans of the original band should be happy, as long as you can get past the fact that Thunders, Nolan, Kane and Murcia are not here anymore. Songs like “Punishing World”, “Fishnets and Cigarettes”, “Gotta Get Away From Tommy” and especially the pure Dolls tune “Rainbow Store”, all hand out enough great Rock And Roll that the lack of those members can be overlooked to a degree. There is no doubt this is a solid record in the style that those guys would have loved. After reading Nina Antonia’s book on Johnny Thunders there is no doubt that Thunders would not be happy about this band, at all. It was also no secret that Thunders and Johansen did not see eye to eye, and were not exactly “close friends”. But this album does nothing to disrespect what was in the past, and with enough success could bring more eyes and ears to the old classic line-up. The material is strong and solid, and to my amazement I am hoping that we get another album out of this line-up. If you won’t listen to this due to Thunders memory, do yourself a favor and check it out someplace, you owe it to yourself. |
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The Saviours - Demos
So this thing shows up at my house one day, and I have no idea at all as to how or why it was there. The packaging of the disc was a simple, beaten up looking paper disc sleeve, along with a picture of Dimitri Monroe, taken in a living room I presume. Again, I have no idea how I got this. I don’t get review copies of stuff sent to me, and I never asked for it, I don’t think. But hey, what is important here is the tunes and what it is all about.
Here we have 5 tracks of great, Hanoi meets The Replacements at a NY Dolls show style stuff going on. All five tunes rock, with the middle three being a bit more groove based, and the first and last songs being straight ahead tear ‘em up style.
I did a little research around, and it seems that some folks don’t like Dimitri’s vocal work. I will admit that at times he falls off key and seems to struggle at times with his hitting the right pitch, but if that was all text book perfect, do you think
the guy would be fronting a great RnR band that plays from the gut? Well, maybe, but you really can’t fault the guy for playing it from the heart, and giving us the warts and all. It’s what helps the music be honest. In all honesty, some of the guitar isn’t exactly on key either, but some people will hear the similarities to Thunders (and he wasn’t always right either), and give it a pass, just because.
In all the songs are all very strong, and are some of the best I have heard this year. They carry a bit of a Dimestore Haloes vibe to them, and that is all sorts of good! The shame of it is though that they appear to so far only have a 7” single out. But regardless of this problem, if you happen across this thing, pick it up. |
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Tigertailz - Bezerk 2.0
O.K., I’m not going to get into the debate as to which group has the right, or should be using the name. I don’t care. I have no vested interest in either band other than hoping that they both turn out some killer tunes. I don’t really care if there is a “Steevi Tiger” or a “HookerTailz” (though I do like that name and think it would be a pretty great Sleaze outfits name), just so long as they kick it out and continue to make the style of music they both did so damn well about 20 years ago.
For those of you who might not be up to speed on what exactly I am talking about here, I’ll do a little “crash course” in Glam History for you.
There used to be a band named “Tigertailz”. They were a Welsh band that played a heavier style of Glam. It was of the “Hair Metal” variety, but due to vocalists Steevi Jaimz voice, they sounded like a Glammier version of Van Halen. They stood a chance of being one of the greatest party bands ever with the promise shown on their debut album Young And Crazy.
But vocalist Steevi had a bit of an ego and didn’t really get along with the rest of the band, so he departed.
The band pulled them selves together and brought in Kim Hooker to take over vocal duties. The bands sound took bit of a strange turn at that point, becoming a CyberGlam outfit. They mixed dashes of Glam (still of the Hair Band variety), Trash, and Pop, along with touches of Industrial. They truly took on their own sound, one that attracted fans from all sorts of styles.
After a few strange and testing years the band folded.
Steevi eventually joined back up with drummer Ace and tried to reform the band. But the others (guitarist Jay Pepper and bassist Pepsi Tate) said “no”. They had new lives to attend to.
But then just a short while after that proposal, and Steevi and Ace actually forming a new band and using the name “Tigertailz”, Kim Hooker along with Pepsi and Jay decided to reform Tigertailz, leaving us now with two versions of the band.
Steevi’s band struck first with an EP. But the Kim Hooker/Jay Pepper/Pepsi Tate version has won in releasing the first full length.
So, are the still relevant, or is this just an attempt at hanging onto your past? Did they actually release a string album?
Well, as we have seen by the reviews in this issue so far from reformed bands, they have all managed to be successful, and Tigertailz are no exception to the rule as of late.
The whole sound of this album sounds pretty much exactly as the name of the album implies, if you didn’t know any better, you could swear this thing was recorded at the exact same time as the original BEZERK. The guitars are the same damn sound, Kim’s voice has lost absolutely nothing (and possibly gained some strength as shown on the “power ballad” number “I Believe”). Hell, even the damn keyboard sound is back! If I had to say there is a difference, the knowing listener could tell you that it isn’t Ace on drums.
Tune wise, this thing is damn strong. Granted, if this album cracks the top 100 I will be shocked, as it sounds like what it is, Tigertailz brand of Glam. In other words, the type of stuff that doesn’t soar up the charts in todays wonderful world.
Kicking off with an odd instrumental introduction that works as a “welcome back” to the band and the fans I had my doubts. But “Do It Up” got me back into the flow a bit, showing a strength in the band.
But then with “One Beat Of Your Heart” the aforementioned keyboards started and I understood what the band was after. But then the chorus hit and it was all Tigertailz all over again. I smiled from ear to ear.
Our power ballad is actually a pretty good song. I could possibly do with out the church choir backing vocals, but Kim’s voice is so damn strong on this song you have to enjoy it for all it’s worth, and that is a lot.
One thing about the Kim Hooker era Tigertailz was that they were never afraid to experiment and take chances. It’s what kept them from falling into many of the traps that hurt a lot of the “hair bands” of the time. Those chances that they took are what helped gain them an audience of fans of Thrash and even some Death Metal fans. They were the only “hair”/Glam band that would dare to cover Metallica and Megadeth. They also had that little Industrial influence that along with the Trash love kept them heavier than most. Though the “heavy” side of the band dated back to the early days.
But the experimental side of the band shows up on “TVOD”, along with Tweety again in the beginning. But the song is a classic Tigertailz groove/Funk type of experiment, again with a great chorus.
For my money “Falling Down” is the absolute skipper on the disc. Another “experimental” type of track that just bores me.
The downside to the new album though is that out of the 12 tunes we have an instrumental to kick it off that doesn’t have much substance and will get skipped on most plays. We also have two old tunes making a showing, “Make Me Bleed” and “Dirty Needles”, both from WAZBONES. Both are fine songs, but we’ve heard them before.
If you are looking for “classic Tigertailz” Glam anthems, well the boys deliver two of them so good that you will probably place them alongside your previous favorites. Those two are easily “For Hate’z Sake” and the incredible “Sugar Fever”. As good as “Love Bomb”? Heck, only time will tell, but they are damn close.
A strong release from a band I never thought I would ever heard from again, and so strong that I am really hoping that they continue on. It’s good to have you boys back!!! |
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