Nick Gilder, English musician (Sweeney Todd)

……for dodgy Christmas music to be played wherever you go. Mind you there are some classics that you don’t mind hearing…..

…..Like Slade (THE Slade Jimmy Saville wtf…?)….

………the great Robert Earl Keene giving us a Texas Christmas….

……and the stone-classic that is the Pogues most famous song……

………of course the King in all his glory…..

……. and ’cause Christmas is all about rock’n'rollin’ dancing girls….

………and glam rockers dressing up & releasing seasonal songs…..

…..and cause Christmas is all about the kids……oooof!

Dan Hawkins, English guitarist (The Darkness)

Earlier this week, I went to Music Monday at the Drafthouse. This week’s offering was David Bowie’s 1973 concert feature, Ziggy Stardust and the Spiders From Mars, which shows the legendary conclusion of the artist’s breakout tour which went out with a bang at the Hammersmith Odeon. It was directed by D.A. Pennebaker who Dylanologists (snicker) might revere for shooting Don’t Look Back and synth-pop enthusiasts the world over can credit for capturing Depeche Mode’s 1988 Rose Bowl performance in 101. Stardust is a valueable historical document of the artist, his band (particularly guitarist Mick Ronson), and the last days of glam rock, a subgenre that would capture the imaginations of a generation of boys and girls on both sides of the pond.

While I think Pennebaker and his film crew constructed a few minor but unfortunate heterosexist images here (i.e.: showing teenage female fans in a clear state of religious/sexual ecstacy but not pointing the camera at any of the boys that assuredly were in attendance; downplaying the sexual dynamic between Bowie and Ronson’s on-stage interplay by framing Ronson’s extensive solos as a chance for Bowie to change costumes with the help of several female personnel), it cannot be denied that Bowie is a helluva entertainer and an assured diva candidate.

His interest in cultural provocation and reinvention impacted Madonna, who inducted the purposely absent icon into the Rock and Roll Hall of Fame in 1996. His androgynous look and campy performance style paved the way for like-minded male artists like Prince and Adam Lambert, the latter of whom is apparently too hot for prime time because his orientation has turned queer subtext into text. And finally, his theatrically nasal voice and lyrical wordplay have influenced indie rock singer-songwriters like Dan Bejar of Destroyer to turn odes to girls and books into labrynthine pop.

Oh, and let’s not forget Bowie’s fantastic turn on Extras. I know Andy Millman won’t.     

But all of this means nothing, as I’m going to be focusing on Lydia Lunch, a woman who probably has no use for Bowie or any of his accolades. Fitting in a way, as she’d probably have even less use for being called a diva. While I have no problem declaring her one anyway, I’m also pretty sure she’d tell me to fuck off.

"The fuck is this diva bullshit, Alyx?"; image courtesy of fan-belt.com

For those unfamiliar, Lunch made her mark fronting no wave group Teenage Jesus and the Jerks. Like many of that scene (who’d probably even hate to be referred to as such), this band constantly deconstructed what bands were, what songs were, what music was. Nonetheless, they made an upsetting, exciting scrawl.

And Lunch became imfamous for her confrontational vocal and performance style, something she also brings into her art and written work. Lunch doesn’t sing songs, create installations, make paintings, and write essays and poems so much as disembowel salf-fashioned, sometimes hilarious psychodramas about sex, abuse, death, drugs, and the grotesque implications of image construction. And filth. Always filth.

"Not again!" -- Lydia Lunch, otherwise occupied; image courtesy of flickr.com

On my must-read list; image courtesy of fromthearchives.com

If Lady Gaga went more toward this route, I’d be giddy.

Acerbic and frequently bored, she’s a delightful addition to any music documentary. In fact, she practically saves 2004’s Kill Your Idols, Scott Crary’s otherwise messy attempt to outline the New York downtown scene from the proto-punk offerings of The Velvet Underground and Suicide to the ascendance of then-up-and-coming acts like The Yeah Yeah Yeahs and Liars. Here, she tells her version of the unhistoricizable subgenre that is no wave and strongly endorses against band formation and traditional instrumentation, suggesting kids pick up tubas instead of guitars.

Unfortunately, Crary feels the need to frame his subject in such a way that her heaving bosom is in nearly every shot, which contrasts sharply with the interview footage of Swans’ Michael Gira, which is almost entirely comprised of low-angle head shots. To further pronounce the Citizen Kane indebtedness, Gira’s shot in black and white. Lunch’s breasts apparently required color.

That said, I struggle with Lunch in ways akin to how I struggle with Patti Smith.

Nobody's Patsy; image courtesy of last.fm

On the surface, they’re very similar. They’re both northeastern female underground music-art world figures who made their names blurring filth with art with persona. They also got their start working and aligning with men, sometimes causing me to wonder if they find a particular kinship with men over women, if music historians have overemphasized their work with men, or if they want to absence gender from any discussion of their work, except when they’re making the argument themselves.

Of course, Lunch has worked with a number of women, including Exene Cervenka, Kim Gordon, and Annie Sprinkle. And both women occupy interesting cultural positions that challenge gender roles that line up perfectly with divas. While both women actually employ collaborative processes in their work, the heavy lifting of their male instrumental counterparts is often relegated to the background to emphasize their singularity.

Of course, that I’m doing much of the emphasizing along with generations of like-minded commentators should not be ignored. Instead it should be challenged in terms of how we’re perpetuating the idea that women are better suited to the iconographic role of the solo artist and not toward a further understanding of art- and media-making’s inherently collaborative process and what roles women have, or choose not to have, in it.

Of course, both women seem to like being perceived as cults of personality, which tends to be the realm of the solo artist. Many women have followed, and continue to follow, in this path. We need to keep asking why. I’d like to start by offering up this question: could there ever be a collective of divas working together on a musical project?

Perhaps Lunch and Smith’s configuration as solo artists has something to do with their iffy relationships to feminism (the former instead aligning herself with humanism when she feels its necessary to align with any isms; the latter out-right dismissing feminism).

But one thing I respect about Lunch is her stubborn resolve not to be considered a historical figure. Or an artist. Or a musician. Or a poet. Or a writer. Or a woman sometimes and a human almost never. Because to her, the categorization that inevitably comes from creating or complying with the instation of identity markers create limits on people. Thus, she also resists the entire process of canonization. So I know she’d reject the impetus behind this blog’s assessment of the cultural import behind her personae and body of work.

But canonize I will because, as a feminist, I feel like we have to create a space where we value these sorts of contributions from women and girls. We should also contend the complexities of our art and its political implications. Feminism is tricky and slippery, and most exciting to me when it kind of hurts my head. So is the work of valueable, smart women who will wrestle free from any categorization. Even if I think they’re divas. Even if they think the entire construct (or any construct) is bullshit.

Faster Pussycat – Whipped! (2005, Wounded Bird Records)
Original Release: 1992, Elektra Records

1. “Nonstop to Nowhere” … 6:57
2. “The Body Thief” … 4:56
3. “Jack the Bastard” … 4:07
4. “Big Dictionary” … 2:56
5. “Madam Ruby’s Love Boutique” … 3:42
6. “Only Way Out” … 3:53
7. “Maid in Wonderland” … 5:05
8. “Friends” … 4:47
9. “Cat Bash” … 1:42
10. “Loose Booty” … 3:29
11. “Mr. Lovedog” … 6:30
12. “Out With a Bang” … 4:39

Band:
Taime Downe – Lead Vocals, Backing Vocals
Brent Muscat – Guitar, Sitar, Backing Vocals
Greg Steele – Guitar, Keyboards, Mandolin, Backing Vocals, Co-Lead Vocals (“Loose Booty”)
Eric Stacey – Bass, Backing Vocals
Brett Bradshaw – Drums, Percussion, Backing Vocals

Producer: John Jansen

This is a pretty good release and I was pleasantly surprised when I first listened to it a few years ago. By 1992, grunge and alternative was taking over and it had been three years since the last Faster Pussycat album (the excellent Wake Me When It’s Over). I guess Taime figured it was time for the band to evolve past being strictly a glam act as Whipped! features a bit of a harder darker edge spliced with a more alternative/trippy/funky flare.

The band even has time to ape Red Hot Chili Peppers and The Beastie Boys simultaneously with “Loose Booty” and in a sign of things to come from Taime years later — there’s “Cat Bash”, a short industrial rock piece. Faster Pussycat didn’t totally abandon glam though, all you have to do is listen to “Big Dictionary” and pay attention to the lyrics to understand that there’s still some sleazy to this band (“she just loves me for my big dic-tionary”). That’s actually one of my favorite FP songs even though it’s not a typical-sounding song from them. The ballad “Friends” is pretty good too, seems like a natural successor to “House of Pain”.

I still prefer Wake Me When It’s Over, but just like the band’s debut, this is still an enjoyable album. Faster Pussycat did a good job of combining glam with alternative. Of course, the public didn’t want to listen to Faster Pussycat in 1992, so this album went unnoticed and Faster Pussycat took a break for a number of years. It’s too bad when Taime reformed the band it was as an industrial metal act because I would’ve even been satisfied with a continuation of this kind of alternative-glam.

Highlights: “Nonstop to Nowhere”, “Jack the Bastard”, “Big Dictionary”, “Loose Booty”, “Friends”, “Mr. Lovedog”

www.fasterpussycat.com
www.myspace.com/fasterpussycat

Starz – Violation [Remastered] (2005, Rykodisc)
Original Release: 1977, Capitol Records
tracks

1. “Cherry Baby” … 3:47
2. “Rock Six Times” … 3:13
3. “Sing It, Shout It” … 5:13
4. “Violation” … 4:28
5. “Subway Terror” … 3:43
6. “All Night Long” … 3:29
7. “Cool One” … 3:41
8. “S.T.E.A.D.Y.” … 5:40
9. “Is That a Street Light on the Moon?” … 3:18
BONUS TRACKS
10. “Do It With the Lights On” (Demo) … 3:34
11. “Cool One” (Demo) … 3:22
12. “Rock This Town” (Demo) …  2:47

Band:
Michael Lee Smith – Vocals
Richie Ranno – Guitar
Brenden Harkin – Guitar
Peter Sweval – Bass
Joe Dube – Drums

Producer: Jack Douglas

Can someone tell me why Starz didn’t blow up huge??? Just on this album alone these guys should be viewed as rock ‘n’ roll legends! This is my first Starz release, I’ve had a number of their albums on my wish list for years but always hesitated to buy them. Well, I finally decided it was time for some new blood in collection and ordered Violation based on many reviews I’ve read saying this is their best release.

Well, if this isn’t their best, I really need to hear what’s better! Starz are often compared to KISS & Sweet and are noted as influences on the ’80s glam-metal scene and it’s easy to understand why. Violation combines pop and hard rock to near perfection and the KISS comparison is evident on a song like “Violation” (where if I didn’t know better, I’d swear that was Gene Simmons yelling in the background) and even the guitars at that times sound inspired by Ace Frehley.

The album’s opener “Cherry Baby” I’ve seen cited as the seminal Starz tune, but personally, while it is good it is a bit too poppy and glammy for me. Killer hard rockers like “Rock Six Times” and “Subway Terror” are the two finest songs on the album, in my opinion. The whole album is carried by the charismatic and smooth vocals of Michael Lee Smith. I really love his performance on “Cool One”, in which the whole tune carries a ’50s rock ‘n’ roll vibe.

And I’m not sure who was the main writer in the band but I love these lyrics! This is where the ’80s glam-metal influence this band had is apparent. Such naughty lyrics but they are humorous and witty at times (“Cool One”, “Rock Six Times”) but also downright creepy as well like on “Subway Terror” where the song is told from the point of view of a subway killer!

Consider me a Starz fan now and I hope to be adding more of their albums to my collection soon.

Highlights: “Cherry Baby”, “Rock Six Times”, “Violation”, “Subway Terror”, “Cool One”, “S.T.E.A.D.Y.”

www.starzcentral.com
www.myspace.com/officialstarz

It’s been way too long since I’ve seen Velvet Goldmine again.  That movie just begs for re-viewing.

Note the rainbow lettering. Oh yeah.

As a fan of psychedelia, feather boas, and men in catsuits (not all men, mind you) I’m pretty much genetically pre-disposed to glam fandom.  Oh, and that little bit about androgyny and sexual ambiguity?  Also a fan.

So it’s no surprise that when I first saw the film Velvet Goldmine, I was blown away.  This has everything my mind could want.  It’s amazingly trippy and far-out, it’s got an AWESOME soundtrack, Ewan McGregor as some kind of Kurt Cobain looking, Iggy inspired, Mick Ronson stand-in, feather boas, Eddie Izzard, men in shimmery jumpsuits, and Johnathan Rhys Meyers as a Bowie-inspired bisexual glam-rocker who often runs around in high-heeled boots and makes out with the aforementioned Cobain look-a-like.  YAY!

Ewan McGregor and Johnathan Rhys Meyers

The story is told in a series of flashbacks of the life of superstar Brian Slade (JRM), as his mysterious death is being investigated by reporter Arthur Stuart (played by Christian Bale). Brian’s life is one of fame, confusion and sexual debauchery. Brian marries a young woman just as he is about to become famous. Once he does so, however, he is quickly thrown into a mad world of sex and drugs. Brian falls in love with American guitarist Curt Wilde (Ewan McGregor). Curt, however, has a volatile temper and the two men eventually go their separate ways. Brian’s career ends in tragedy when he is shot onstage during a performance. The killer is never found and Arthur Stuart, an avid fan of Slade’s during his teenage years, takes it upon himself to reopen the case and investigate the mysterious murder of the glam superstar.

Ewan and Johnathan in another great promo shot.

This movie is utterly amazing and fantastic and I recommend it to fans of all that is Glam-tastical.   

Here’s a little clip, just to give you a feel for how odd and wonderful it is.  The song is called “Satellite of Love” by Lou Reed and I highly recommend you look it up, because it’s beautiful.

http://www.youtube.com/watch?v=SXESfMD01h8

Whitesnake – Slip of the Tongue (1989, Geffen Records)

1. “Slip of the Tongue” … 5:20
2. “Cheap an’ Nasty” … 3:28
3. “Fool for Your Loving” … 4:11
4. “Now You’re Gone” … 4:12
5. “Kittens Got Claws” … 5:02
6. “Wings of the Storm” … 5:01
7. “The Deeper the Love” … 4:22
8. “Judgment Day” … 5:16
9. “Slow Poke Music” … 3:59
10. “Sailing Ships” … 6:02

Band:
David Coverdale – Vocals
Steve Vai – Guitar
Adrian Vandenberg – Guitar
Rudy Sarzo – Bass
Tommy Aldridge – Drums

Producer: Mike Clink & Keith Olsen

Holy cow, what a line-up David gathered for this release! Guitar virtuoso Steve Vai (David Lee Roth),  Rudy Sarzo (Quiet Riot) and Tommy Aldridge (Ozzy, Black Oak Arkansas, Pat Travers Band). I left out guitarist Adrian Vandenberg because while he was still technically a member of the band, a wrist injury prevented him from taking part in the recording sessions (the liner notes mention this while still crediting him and Vai). Vai had replaced Vivian Campbell, who was fired in 1988 for a “negative attitude”, but I think Vivian made out okay finding a home with Def Leppard in 1992.

I’m not sure how much touring Vandenberg was able to for this album, but I was thinking Vai and Vandenberg would’ve made for an awesome guitar duo… Until while doing research for this album I read Vandenberg didn’t appreciate Steve’s flashy style, which he feels damaged this album.

I’ve wanted this one on CD for years, but kept putting it off because I know it by heart as I had the cassette for a long time. I know there’s remastered/20th Anniversary/DVD edition but why pay $20 for that when I can just get the original for $6? I don’t need any fancy fixin’s! The album isn’t that good.

But I will say this, I’m probably a bit more positive on this one than most people. It’s the culmination of the band’s pop metal years with the bluesy hard rock now totally stripped away but there’s still some good songs here. Tongue-in-cheek numbers like “Slip of the Tongue”, “Cheap An’ Nasty” and “Slow Poke Music” are classic Coverdale, in my opinion. It is really the ballads like “Now You’re Gone” and “Sailing Ships” that hike up the pop-metallic cheese level. Guilty pleasures for sure.

“Fool For Your Loving” is yet another old Whitesnake song David dusted off. The original song appeared on 1980’s Ready an’ Willing.

Not the first Whitesnake one should own, but I recommend it for anyone who is a fan of Slide It In and their 1987 self-titled release.

Highlights: “Slip of the Tongue”, “Cheap an’ Nasty”, “Fool for Your Loving”, “Now You’re Gone”, “The Deeper the Love”, “Judgment Day”

www.whitesnake.com
www.myspace.com/whitesnake

Ci sono due corpi che cercano una via d’uscita nella spessa coltre di un sentimento potente e distruttivo. Scavano nel buio ma non riescono ad avvicinarsi. Scavano dentro se stessi ma si allontanano ed intanto parte “Decode” a fare da colonna sonora emozionale; la band italiana confeziona 12 brani rock che non sfigurerebbero, in quanto a sonorità, nel Regno Unito. Queste ultime, ma soprattutto il timbro vocale di Kiki, flirtano con i primi Placebo anche se la personalità è ben delineata. Sono almeno 4 i potenziali singoli da poter sfruttare per fare proseliti; oltre al primo singolo “Closer” che parte infiammando il suolo, si placa per qualche attimo per poi sfuriare verso la fine; c’è “The black rain” (secondo singolo che potete scaricare dal myspace della band in versione alternativa) che lenta, accarezza il ricordo di un amore mentre viene portato via dalla pioggia del risentimento; La carezzevole ma dall’ amaro retrogusto “Kill me again” e “Blow” con il ritornello che già alla seconda volta si insinua in testa. L’album è godibile, e seppure l’unico neo è la pronuncia in alcuni frangenti, merita di essere ascoltato e supportato perchè se i Killtherabbit si metteranno in testa di arrivare a voi – soprattutto per chi sguazza in certo ammiccante rock emozionale – sarà solo questione di tempo.

Hiiii! I think I’ve deprived you long enough without a blog from me! Honestly I wasn’t intending to go so long without blogging. I haven’t been in the right mind frame to blog. The shop is going well, getting few more people cos I got the Midnight Mania now, and my subscribe group has gone up to 58 members \o/ Don’t ask about the club lol

So it’s 4.30am and for some reason I’m in the right mood to blog when i should be in bed. Today I am showing you this outfit that I put together earlier, which includes items from *COCO*, Madsy, Kookie and *~*evie*~*. The main focus of this outfit are the Athena boots from Kookie, which you can buy at the Footwear Expo (prepare for lag). I am absolutely totally in love with them! Evie’s legs look amazingly skinny and long in these shoes.

I added my bag to the outfit for 3 reasons, 1) I made it  2) It matches the colour of the jacket buckles and 3) It adds a bit of glam to the outfit. \o/ This gorgeous dress is from *COCO* and it is one of the group gifts, it comes in 4 different colours, just join the group and buy the gifts on the wall at the store \o/ There’s a few other gifts there too. old ones and kinda new ones. I think I’ve showed you the Madsy jacket, and the necklace was in the last blog too. I discovered the hair in the depths of my hair folder, it’s not one I’d wear out and about but good for blogging.

Until next time, byeeeeeeeeeeeeeee

Hugs, evie xoxo

Credits:

Hair- Armidi ‘The Glamerous’

Skin- [Pink Fuel] ‘Skye <Chai> Scene’

Jacket- Madsy  ’Lost Sheep Leather Jacket’

Dress- *COCO* ‘ShirredTubeDress Black’ (Group Gift)

Shoes- Kookie ‘Athena/ Black’ (Footwear expo- not sure if they are at the mainstore)

Bag- *~*evie*~* ‘Gold Sequin Clutch’

Necklace- Naith Smit ‘Rock ‘n’ Roll Gang Bang Chain’

the killers vs. la roux – smile like you’re bulletproof.mp3

L.A. Guns – L.A. Guns (1988, PolyGram Records/Vertigo Records)

1. “No Mercy” … 2:47
2. “Sex Action” … 3:42
3. “One More Reason” … 3:07
4. “Electric Gypsy” … 3:25
5. “Nothing To Lose” … 4:14
6. “Bitch Is Back” … 2:53
7. “Cry No More” … 1:18
8. “One Way Ticket” … 4:20
9. “Hollywood Tease” … 2:52
10. “Shoot For Thrills” … 4:30
11. “Down In The City” … 3:56

Band:
Phil Lewis – Lead Vocals
Tracii Guns – Lead Guitar
Mick Cripps – Rhythm Guitar, Keyboards, Backing Vocals
Kelly Nickels – Bass, Harmonica, Whistle, Backing Vocals
Steve Riley – Drums (credited but did not play)

Additional Musicians:
Nickey “Beat” Alexander – Drums
Alan Jones – Sax
Paul Kaufman – Washboard

Producer: Jim Faraci

I’ve seen some critics call L.A. Guns a combination of Guns N’ Roses and Poison. That’s a pretty good description of them, though I think there’s a dash of Motley Crue as well. The Guns have always seemed to straddle the line between the seedy, sleazy life that GNR wrote about and the sex & party world of glam metal poster boys Poison. It makes for some good rock ‘n’ roll and L.A. Guns have never fully gotten the respect, success and credit that they should have despite having two platinum albums in their catalog (this one and Cocked & Loaded)… They should’ve sold more!

Anyway, this a really good debut. Phil Lewis rocks, guitars are great (Tracii also does not get the respect he should), there’s plenty of sleaze and fun for everyone! But the band has a softer side — there’s “Cry No More”, a pretty instrumental, to break up the album and it leads into the ballad “One Way Ticket”.

“Sex Action” was a small hit for the band, but I tend to think that’s an overrated song. It’s a good song, but I’ve often seen it mentioned as a LAG fave but I think there’s plenty of other songs here that overshadow it. “One More Reason” is my favorite from the disc. Cocked & Loaded is regarded as the quintessential L.A. Guns release. That album is a bit more catchy and melodic, but this one is heavier. I like them both equally.

Original LAG drummer Nicky “Beat” Alexander played on the album, but it was Steve Riley (coming over from W.A.S.P.) who got the album credit and his face in the band photo as he joined the band just before the album was released. Most of these songs were written with L.A. Guns’ previous singer Paul Black. Maybe that’s why Phil was able to get “Hollywood Tease” (from his previous band Girl) on the album?

Picked this up online for about $6. Definitely worth the cash. The cover is really cool too — you’ve got guns, a skull and a Hollywood night in the background. The art was done by Tyler. I wonder if he’s ever done anything else in the hair metal arena?

Highlights: “No Mercy”, “Sex Action”, “One More Reason”, “Electric Gypsy”, “One Way Ticket”, “Shoot For Thrills”

www.laguns.net
www.myspace.com/lagunsofficial

lady_gaga_adam_lambert for your entertainment fever idea girl consulting

Adam Lambert shares why Glam is back, Glamrock is here to stay and will be in his new album – For Your Entertainment.

Here is Adam’s message to his fans.

I’m so happy that Lady Gaga and Adam Lambert got a chance to make a song together.

Sexual Fever, totally appropriate song for these two to work on together.

Adam’s talents shine as he can take an older song, and bring it up to speed, while adding his own flair to the song!

Endeverafter – Kiss or Kill (2007, Razor & Tie Records)

1. “I Wanna Be Your Man” … 3:06
2. “Baby Baby Baby” … 4:14
3. “Gotta Get Out” … 4:04
4. “Poison” … 4:14
5. “Next Best Thing” … 5:18
6. “Tip of My Tongue” … 4:06
7. “Road to Destruction” … 5:41
8. “All Night” … 3:35
9. “Slave” … 3:44
10. “From the Ashes of Sin” … 4:09
11. “Long Way Home” … 6:14

Band:
Michael Grant – Lead Vocals, Lead Guitar
Kristan Mallory – Guitar
Tommi Andrews – Bass
Eric Humbert – Drums

Additional Musicians:
Butch Walker, Grace Sims, Tom Jane, Azeron, Skye Nicolas – Backing Vocals
Jessica Catron – Cello

Producer: Stacy Jones with Bill Lefler

Here’s a strange album for ya! Endeverafter are a fairly recent band that seems be torn as to what kind of rock that they want to play. Are they the next Fall Out Boy? Do they want to be the next generation of pop metal? Or would they rather play nu-metal or NWOBHM or post-grunge? Well, they aren’t sure yet and neither am I because this album waffles more than John Kerry, but I’ll get back to you as soon as they decide!

Don’t let the band’s looks and touring credentials fool you either — sure, they have opened for KISS, Poison and Cinderella but I have no idea what songs they would have played to win over those types of crowds when sound their sound has much more in common with Fall Out Boy than the previously mentioned bands. In addition to that, they’ve performed on ’80s rock packages like Motley Cruise and ShipRocked which makes their primary choice of music even more puzzling.

FOB is one of the worst bands to come out in the past decade. I have heard a lot of their stuff and it’s terrible and they’ve spawned countless (and equally terrible) copycat bands. The songs here with the FOB are just as bad as the real thing. Now, they did try to spice things up a bit. It’s not all alt rock/pop. A handful of songs break out of alt. rock/pop mode and get a bit heavy or at least bit more spirited than the majority of the album.

There is potential here. The band is totally Michael Grant’s show. He wrote all of the music and lyrics. He sounds way too much like Patrick Stump, but I hear bits of good hair metal (and good metal in general) within some of these songs. He just needs to decide what kind of band Endeverafter is. It’s too bad American Hi-Fi’s Stacy Jones, as producer, couldn’t straighten these young chaps out and tell them to pick a sub-genre and stick with it.

I totally took a chance on this band. Classic Rock magazine was hyping them up as the second coming of Poison and Motley Crue and that’s just not the case at all. Hm… Do you think it has anything to do with the band’s UK label being the Classic Rock-owned Powerage Records? Shame on you, CR!

Luckily, the album can be found fairly cheap so it wasn’t a huge loss. I would be interested in new music from this band, but I’d have to hear some samples first before buying.

Highlights: “I Wanna Be Your Man”, “Baby Baby Baby”, “Poison”, “From the Ashes of Sin”

www.endeverafter.com
www.myspace.com/endeverafter

Sgt. Roxx – Weapon of Miss Distraction (2009, Eonian Records)

1. “All You Need” … 3:20
2. “Why’d You Lie” … 3:28
3. “Movin’ On” … 4:06
4. “Push & Squeeze” … 3:48
5. “Million Dollar Girls” … 3:56
6. “Wrap Yourself” … 4:22
7. “Don’t Cry” … 4:26
8. “Rockin’ Horse” … 4:14
9. “Decisions” … 4:37
10. “Alright” … 5:31
11. “Without You” … 3:20
12. “Thinkin’ of You” … 4:29
13. “Ransom” … 2:41
14. “(Don’t Do) What Your Mama Sayz” … 3:37
15. “4th Time Out” … 4:57
16. “I Don’t Know” … 4:36
17. “Psycho In The House (live)” … 4:31
18. “My Lady (live)” … 4:08
19. “Bread & Water” … 4:37

Band:
Jack Adams – Lead Vocals, Backing Vocals
Rob Briles – Lead & Rhythm Guitar, Backing Vocals
Bob O’Connor – Lead & Rhythm Guitar, Backing Vocals (Tracks 1-5, 11-16)
Scott “Grover” Weatherspoon – Lead & Rhythm Guitar, Backing Vocals (Tracks 6-10, 17-19)
Darrin Laszlo – Bass, Backing Vocals
Kevin Cora – Drums, Backing Vocals (Tracks 6-10, 17-19)
Scott Wilson – Drums (Tracks 1-5)
Gabriel “Gabie” Anthony – Drums (Track 11-16)

Sgt. Roxx are a Chicago-based melodic hard rock outfit that was active in the early ’90s. Though they never had a major label deal, there were able to release an EP called Push N Squeeze, which apparently has gone for big bucks on eBay. I couldn’t find a listing for it though… Maybe the few copies that exist have all found happy homes or maybe people just aren’t interested now that they can own the full EP plus tons of more songs on this remastered collection of songs recorded by the band from 1990-1994. Can you imagine shelling out $200 or so for the EP then finding out a few months later that that EP and so much more was getting a proper CD release? OUCH!

But let’s get to the music — it’s enjoyable, but nothing earth-shaking. Sgt. Roxx definitely treads on the lighter side of hair metal (though there is a slight Ratt influence) on the first half of the disc. They aren’t as slick & poppy as Danger Danger or Enuff Z’nuff, but I am constantly reminded of those two bands throughout that first half because the rockers just fall short. I have to admit, they do have a knack for writing ballads. “Movin’ On” and “Don’t Cry” are worthy additions to power ballad compilation.

When the band finally does muster up some quality hard rock, sometimes the lyrics themselves fall flat. On “Alright” we have a pretty good rocker but then one of main lyrics is “would it be alright if I made love to you?” What kind of lyric is that for a hair metal song ?! You don’t ask! You say you’re going to do it and that you’re going to be the best she’s ever had! Don’t be so sheepish!

What’s funny is once we get to the later songs, despite being recorded in 1994 when grunge and alternative was all the rage, you get to hear Sgt. Roxx digging their heels into glam metal and cranking out some really cool hard rockers like “Ransom” and “(Don’t Do) What Your Mama Sayz”.

Overall, the album is a mixed bag. First handful of songs are light, the ballads are good and second half really rocks like hair metal bands should (despite the less than perfect audio quality). Definitely worth looking into for anyone tired of pulling out their old Cinderalla, Poison or Ratt albums for millionth time.

Highlights: “All You Need”, “Movin’ On”, “Don’t Cry”, “Thinkin’ of You”, “Ransom”, “(Don’t Do) What Your Mama Sayz”, “I Don’t Know”

www.myspace.com/sgtrox
www.eonianrecords.com

Tits. Can you handle it? (The word, not the tits themselves.)

I’m sure some will blush and others will shrug. What drew me into this song wasn’t the tits though, it was that sweet bass line. You can especially hear it at the beginning of the song. Oh yeah baby! That’s what I am talking about!

By the way, if the watch the fan made video note that it isn’t really Rated G, and probably not even PG-13. I’m sure you can handle it though. (The video, not the tits themselves.) Eyes up here! Oh wait… right. I’m a boy.

Song Recommendations

If you like this song, I also suggest:

• Lily Allen
• MGMT
• Mika

I also suggest the music genre:

• Electroclash

Click here for more info on Scissor Sisters – Scissor Sisters – “Tits on the Radio”.

The MP3 may be purchased here:

Scissor Sisters - Scissor Sisters

The title of the blog has nothing to do with the outfit, nor is it about someone I know. It’s actually the song that I’m listening to on repeat as I type this. It’s by Bat for Lashes and I am totally in love with this song. It’s a beautiful song. Listen to the words, they make my eyes well up, I get very emotional lol. Read these lyrics and listen to the song I’m sure you will like it. Also check out the album Two Suns. Maybe not on you tube cos watching a video can distract from the words. Here’s the link to the video on YouTube Daniel I think it’d be better to listen to it without the video first.

Daniel, when I first saw you
I knew that you had a flame in your heart
And under our blue skies
Marble movie skies
I found a home in your eyes
We'll never be apart

And when the fires came
The smell of cinders and rain
Perfumed almost everything
We laughed and laughed and laughed
And in the golden blue
Crying took me to the darkest place
And you have set fire to my heart

When I run in the dark
Daniel
To a place that's worst
Under a sheet of rain in my heart
Daniel
I dream of home

But in a goodbye bed
With my arms around your neck
Into our love the tears crept
Just catch in the eye of the storm
And as my heart ran round
My dreams pulled me from the ground
Forever to search for the flame
For home again
For home again

When I run in the dark
Daniel
To a place that's worst
Under a sheet of rain in my heart
Daniel
I dream of home

When I run in the dark
Daniel
To a place that's worst
Under a sheet of rain in my heart
Daniel
I dream of home 

Credits:

Hair- Argrace ‘Fedora Hat Glamerous Wavy’

Skin- Pink Fuel ‘Skye <Chai> Scene’

Jacket- Sensual Mistery ‘ Angel Shirt’ (Part of outfit set for the Make Him Over Hunt) Edited to make it fit female av \o/

Shirt- =Zenith= ‘Checker2 Red (girl)’

Pants- OuT.TAGE! ‘Keiko (Teal)’

Boots- [Decoy] ‘Jully Boots, Onyx’

Belt- COCO ‘gift- belt’ (Group Gift)

Necklace- Naith Smit ‘Rock n Roll Gang Bang Chain’ (edited to look longer)

Neckerchief- *~*evie*~* ‘Red Plaid’

Poses- pda & posies

KISS – Alive 35: Live at Cobo Arena – Detroit, MI – September 25, 2009 (2009, Concert Online)

CD I
1. “Deuce” … 4:52
2. “Strutter” … 5:13
3. “Got To Choose” … 4:43
4. “Hotter Than Hell” … 4:31
5. “Nothin’ To Lose” … 4:32
6. “C’mon And Love Me” … 3:29
7. “Parasite” … 3:59
8. “She” … 11:09
9. “Watchin’ You” … 4:10
10. “100,000 Years” … 15:40
11. “Cold Gin” … 5:25

CD II
1. “Let Me Go, Rock ‘n’ Roll” … 9:49
2. “Black Diamond” … 5:39
3. “Rock And Roll All Nite” … 10:24
4. “Shout It Out Loud” … 3:07
5. “Lick It Up” … 10:37
6. “I Love It Loud” … 4:39
7. “Modern Day Delilah” … 5:32
8. “Love Gun” … 6:46
9. “Detroit Rock City” … 6:41

Band:
Paul Stanley – Rhythm Guitar, Lead Vocals, Backing Vocals
Gene Simmons – Bass, Lead Vocals, Backing Vocals
Tommy Thayer – Lead Guitar, Backing Vocals
Eric Singer – Drums, Backing Vocals, Lead Vocals

From the 9/25/09 Cobo Arena show in Detroit, Michigan, which I was lucky enough to attend live for my first ever KISS show. It was the kickoff show to the North American leg of the Alive 35 world tour. My initial thoughts can be found here in my concert review.

As I said in that review, Paul’s voice was a little rough in the early going, but he got better after the first couple of songs. His voice is a bit weaker than what it used to be, but he’s still doing a great job, so it’s not like he’s out there embarrassing himself. Gene’s voice is as strong as ever though and Eric’s got a great voice that’s a dead ringer for Peter Criss. As for actual musicianship, everyone was on all night long. These guys are true professionals.

I LOVED getting to hear “Love Gun” in person (my favorite KISS song) and “C’mon And Love Me” has become another favorite of mine over the years. It was a real thrill to hear “Modern Day Delilah” performed live as well. Too bad we didn’t get “Say Yeah” from Sonic Boom as well (they added that to the set list a few weeks later).

I had been meaning to get this album for awhile, but at $30, I kept putting it off. I really wanted it the night of the concert, but was low on cash by that point in the week. I can safely say this is the most I’ve ever paid for an album! But it’s a great memento from the show and well worth the money. It’s a real treasure and a very personal album from my collection that means a great deal to me.

I was pretty impressed with the shipping process. I got the CD within only a matter of days of my order being processed.

Highlights: “Strutter”, “C’mon And Love Me”, “Parasite”, “Black Diamond”, “I Love It Loud”, “Modern Day Delilah”, “Love Gun”, “Detroit Rock City”

www.kissonline.com
www.myspace.com/kiss

Feeling good, yet melancholy? Here is the song for you. That is where I am. And here is why…

I went to a class run by my friend about being environmentally friendly, living with less stuff, sustainability, etc. etc. (…more on the content another time…) It was fun, good and invigorating, but yet there is that tinge of hopelessness I could not help but feel once I returned home and realized the issues are huge. Monumental in fact. And they are getting worse, not better, even despite increased awareness. Yes there are things that can be done by individuals such as myself, but it is probably easier to move mountains than it is to change the masses. One rock at a time I guess. One rock at a time.

The one thing I will tell you all is you need to watch “The Story of Stuff” if you haven’t already.

Song Recommendations

If you like this song, I also suggest:

• David Bowie
• Brian Eno
• Geneva

I also suggest the music genre:

• Art Rock

Click here for more info on Lou Reed – Transformer – “Perfect Day”.

The MP3 may be purchased here:

Lou Reed - Transformer

Despite having sort of trailed that I was going to write about a period of homelessness and sofa-hopping, I wanted to write about something different today. I can’t recall why but I’ve been remembering a time when I was doing quite a lot of gigs on my own and had gone in for the ‘glam rock‘ look. This was not as unexpected as a few people tried to make out at the time: my first ever rock and roll t-shirt had been a black one with the face of Marc Bolan transferred on, which I persuaded Mum to buy me when I was eight or nine years old. My father wanted to know “Why have you got that pouf on your chest?” so I wore it as much as possible, to annoy him. In fact I wore it so much that Bolan’s face eventually vanished from the shirt. So what I had was a black t-shirt, although I continued to refer to it as my ‘Bolan shirt’.

All those years later I was to be seen strumming and singing with red or purple hair, and dressed in spangly silver tops, glitter eye-shadow and a white fur coat. Well, I had a white one and a brown one (fake fur, I couldn’t wear the real thing), but I mostly wore the white one. On stage no-one really questions it; it’s part of rock and roll iconography, even if not many people are going in for it these days. A friend who had moved to the States saw me on my way to a gig one afternoon. He’d been in New York seven years and had picked up the accent very strongly. “Hey,” he called to me. “IS that you? I almost didn’t recognise you. You look weird.” Without missing a beat I replied “Yeah but you sound weird so what are we gonna do, eh?”

It may have been the same evening when I was heading back to my car, guitar and small amp in hand. I’d parked some distance from the venue and had to walk down a narrow alleyway to reach the car park. As I headed down into the darkening alley I spotted a group of seven or eight men walking towards me. They were Royal Marines: my town had a marine camp a few miles outside and all the civvies knew instinctively who the marines were, even when they weren’t in uniform. Something to do with the chiseled jaws, the huge biceps, and the jarhead haircuts, I guess. Anyway, there was I, dressed like a ladyboy, and here were eight of them coming towards me. “This is not going to go well,” I muttered to myself but kept on walking.

When they were only a couple of paces in front of me one of them said “Hey!” Now, I don’t know what it is in me but whenever I am faced with such situations, my mouth tends to act as though it is not as frightened as the rest of my body. So I replied “What?” in a surly voice. “Can you play that?” he asked, pointing at my guitar. “No, I just carry it around to look cool. What do you reckon?” I said, inwardly wishing I would shut the hell up. “No but can you though, mate?” he said. I nodded. “Play us a Beatles song then.” Considering I’d been expecting to be beaten within seconds, this almost caught me by surprise but I got my guitar out, sat down on the amp, and played them ‘Help’ or ‘I Feel Fine’. They all applauded and wanted another so I played something more contemporary (Paul Weller maybe) and they applauded again. The one who had spoken to me clapped me on the back and said I was great. Then they all dug into their pockets, handed me loads of coins, and wandered off into the night. I counted the money in my hand, it was over ten pounds! And there was me expecting the encounter to have ended with me lying down a lot and doing some bleeding.

As I said earlier, onstage no-one really questions the glam look. Well there was one occasion when I was going to the toilet during a break in a performance at a local bar, and I heard a girl say to her boyfriend, “Oh he’s really good.” To which the boyfriend replied “Bloody queer.” So of course when I got back onto the microphone for the second set I made a little announcement: “Ladies and gents, I understand that some of the men in the crowd are commenting on my sexuality. Well be afraid, be very afraid gentlemen, I am heterosexual and all your girlfriends fancy me.” I was onstage, so I got away with it. The magic protection of a guitar and a mic, eh?

One occasion I really was convinced thviolence was going to ensue occurred one night when I was out drinking with some friends, including my best friend Rob. I was in my white fur coat and make up. Altogether there were six of us but the other five dressed like normal people. Across the bar was a table of six or seven youngish guys, probably students, I thought. One of them looked at me and said ‘Pouf!’ I’d heard it all before, of course and my thinking about such insults was as follows. They’ve made a judgement about me, deciding that I am a homosexual. I am not a homosexual so their judgement is incorrect, therefore the insult fails. If I did happen to be a homosexual then their judgement is correct, in which case, what do they want, a medal? Again the insult fails. In other words, words are words are words. But Rob was feeling particularly determined that evening that we should be able to enjoy our night out without people throwing insults around. So he started staring at the guy who’d called me a pouf.

One of the students, but not the one Rob was staring at, came over and stood in front of Rob. It was at this point that I realised our friends had gone. Rob and I were alone in the bar, save for the six or seven people sending us hostile vibes. The new guy said “What’s your problem?” to Rob. “No problem,” said Rob. “But you’re staring at my mate.” “Yes, yes I am.” said Rob, who is nothing if not truthful. “So what’s the problem?” The guy’s voice was raising in pitch a little and the tension was mounting. If there had been a piano player in the bar, that would have been about the time he stopped playing. “No problem,” said Rob again. “BUT YOU’RE STARING AT MY MATE!” the insistent guy repeated. “Yes I am,” “SO WHAT’S THE PROBLEM?” “

Now I could tell from the look on Rob’s face that he was getting bored of this groundhog day style conversation so he decided to try and move things along to the inevitable violence which was brewing as there’s nothing worse than waiting for people to start punching you. “Why don’t you just fuck off?” he said to the guy. Face all purple and eyes wide as hell the guy demanded to know what Rob had just said. So Rob repeated his words, very slowly, punctuated every one of them with a little jab to the guy’s chest. Any second now the other students were going to leap from their chairs and start laying into the pair of us. I still had a drink in my hand and contemplated throwing it towards the first one that came my way. The one who had just been jabbed and told to fuck off finally found his voice again. “But, but, you’re staring at my mate.” Instantly the tension deflated. He was clearly not going to start the fight so his friends were not going to have to do the honourable thing and join in. He was, as Rob wasted no time in telling him, an arsehole. Even his mates were telling him to shut up and sit down by now. So he did, all abashed, and we finished our drinks and went to find out what had happened to our oh so brave friends.

Felony – Helltown Hotel (2009, Eonian Records)

1. “Cat Daddy” … 3:07
2. “Dancin’ On My Grave” … 4:05
3. “Heist In Helltown” … 3:50
4. “Street Fight” … 3:43
5. “Well Of Souls” … 3:31
6. “To The Core” … 4:27
7. “Lost In The Closet” … 4:53
8. “Yank That Chain” … 2:49
9. “Days Of Disease” … 4:12
10. “Another Hero” … 3:48
11. “F.I.T.H.” … 3:17
12. “Shake The Faith” … 3:22
13. “Heist In Helltown ‘93″ … 4:00
14. “Heist In Helltown (live)” … 4:07
15. “Mississippi Rollin’ (demo)” … 3:59
16. “Shattered Innocence (demo)” … 4:04

Band:
Tommy Lee Lords – Lead Vocals
Dale O’Brien – Guitar (Tracks 1-4, 15, 16)
Michael P. Smiley – Guitar (Tracks 5-13)
Jeffrey A. Parker – Guitar (Tracks 5-13)
Shawn C. Nugent – Bass (Tracks 1-13, 16)
Rich Grillo – Bass (Tracks 14, 15)
Johnny Hustler – Drums (Tracks 1-4, 14-16)
John E. Williams – Drums (Tracks 5-13)

Indianapolis, Ind.-based Felony is another band from the late ’80s that never broke through past the local club scene for various reasons but luckily their music has been preserved by Eonian Records with this compilation of various recording sessions from 1989-1993.

With downright evil looking cover art, I was hoping this wouldn’t be another fluffy glam metal band and they’re not, especially once getting past the first four tracks (which were the band’s first recorded offerings). While the band never gets into full-blown heavy metal, later tracks are heavier, meaner due to a changing band line-up and I even hear a bit of alternative metal in some of these songs (Lords seems to be channeling Layne Staley a bit on “Days of Disease”).

For the first four tracks, there’s a strong Motley Crue influence. “Heist in Helltown” sounds like it could be a lost early Motley song and Tommy Lee Lords vocals are similar to Vince Neil with these songs as well.

One gripe I have is the inclusion of three different versions of “Heist in Helltown”. Seems a bit excessive, but then again, then band probably doesn’t have a whole lot of recorded material in the first place.

This isn’t a great album, but it is still a fun ride that shows Felony had some real talent at writing songs and were getting better at it as time went on. Would’ve been really cool if the band was able to soldier on in through the lifeless alternative-infested 1990s.

I’m still waiting for the day The Police, Warrant, Sheriff, Sentenced and Felony all share a bill together.

Highlights: “Dancin’ On My Grave”, “”Heist in Helltown”, “Street Fight”, “To The Core”, “Lost In The Closet”, “Days of Disease”, “Shattered Innocence”

www.myspace.com/helltownhotel
www.eonianrecords.com

writers_block

Ack! I’ve got Writers Block, what should I do?

Calling all you NaNoWriMo Writers.

Don’t sweat it!

Just take a few minutes, go for a walk, pop in a CD and dance around your office.

Read the newspaper, or watch TV for about 30 minutes.

Start writing anything about what you’ve just watched or listened to.

This will get your writing  juices going.

It should help with what your working on.

Or it will give you a brand new idea of what to write about next.

Ideas are wonderful and music is inspiring.

I find typing to 80’s music is the best thing in the world.

Try and keep up with the tempo, it’s fun!

Strike Twice – Strike Twice (2009, Eonian Records)

1. “Tuff Luck” … 2:40
2. “Intoxication” … 4:44
3. “Never Let Go” … 4:03
4. “Get It” … 3:04
5. “Dirty Lover” … 3:50
6. “One Night With You” … 4:05
7. “Undress Me” … 3:00
8. “Wake Up Cryin’”
9. “Tango” … 3:28
10. “D.F.W.M” … 3:55
11. “Back Door” … 4:33

Band:
Michael Hayes – Lead Vocals, Backing Vocals
Rob Luv – Guitars
Trixx – Guitars
Chaz Domino – Bass, Backing Vocals
Randi Price – Drums, Percussion, Backing Vocals

Producer: Steve Amend (Tracks 1, 3, 4, 11), Strike Twice (Tracks 5-9), Donny Whaller (Tracks 2, 10)

A lot of rock acts from the ’80s and early ’90s seem to be getting a second chance these days thanks to retro-minded labels like Eonian Records. The New York-based Strike Twice is one of those acts. After having formed in 1985, the band reunited in 2008 and in 2009 Eonian has brought us this compilation of recording sessions from 1989, 1990 and 1991 (that enough dates for ya?).

As near as I can tell, the band never had any official release previous to this album, but the sound quality is very good from these sessions and these tracks are certainly not demo quality. These are honest-to-goodness well-produced recordings for the most part.

Had an album been released by these guys in the late ’80s, I can definitely see them having some success. Maybe not on the level of Poison or Motley Crue (though singer Michael Hayes does remind me of Vince Neil) or Ratt, but the music is solid radio-ready melodic ‘n’ sleazy hard rock. If the band had scored an album deal back then, they would probably be a cult fave now. I think where Strike Force went wrong is that instead of taking time to build a buzz with an indie label, they went straight to the majors trying to get a deal. Sometimes it works, sometimes it backfires.

Back to the songs themselves, there’s some inspired sleazy moments here. “Intoxication”, “Dirty Lover” and “Undress Me” are just as raucous as they sound, “Back Door” is an ode to… well, you know and “Wake Up Cryin’” is a worthy entry into the Great Hall of Power Ballads and it features just enough bite to not come off as too wimpy.

Now that the band is back together playing dates and they’ve gotten their older material released, I really hope to hear some new material from Strike Twice in the next year or two.

Highlights: “Tuff Luck”, “Intoxication”, “Dirty Lover”, “Undress Me”, “Wake Up Cryin’”, “Back Door”

www.striketwicerocks.com
www.myspace.com/striketwicerocks
www.eonianrecords.com

Pour en savoir plus :
69 Eyes
The Becoming