Archive for the ‘glam’ Category

Album Review: Rog & Pip — Our Revolution

Thursday, August 28th, 2014

I’ve just stumbled upon what sounds like the greatest album Sweet ever made. The thing is, most of the tunes on Our Revolution have gone unreleased – or have been available only on one-off, Europe-only 45rpm singles – since 1974. Oh, and one more thing: none of the guys that gave the world “Little Willy,” “Fox on the Run” and “Love is Like Oxygen” are on these tracks, and the hit production team of Nicky Chinn and Mike Chapman had nothing to do with the recordings.

And this newly-released album is credited to the duo Rog & Pip. In fact, other than the location (merrie olde England) and the era (the first half of the 1970s), Our Revolution has nothing to do with Sweet. So of course a bit of explanation is in order.

Philip “Pip” Whitcher left hit-making group The Sorrows to form a songwriting team with guitarist Roger Lomas. Whitcher’s involvement with The Sorrows predated Don Fardon, the singer who fronted the band for the hit “Take a Heart” (most easily found today on the essential 4CD Nuggets II: British Empire and Beyond). Lomas had been an early member of the group as well. But by the 70s they wished to strike out on their own, and while the fruits of their labors earned them next to nothing in fame nor fortune, the dozen songs now collected as Our Revolution will leave fans of stomping, good-time hook-laden 70s- style hard pop wondering why Rog & Pip weren’t as big as Slade or any of the era’s other glam-rocking hit makers.

Rog & Pip may have had a musical personality of their own, but there’s no mistaking the fact that everything about “Why Don’t You Do What I Want?” screams Sweet: the insistent beat, the shouted lead vocals and high backing voices, the fuzz-laden guitar, the direct and simple sentiments expressed in the song’s lyrics.

“My Revolution “ is even better, sounding to all the world like a cross between T. Rex and Uriah Heep (less the organs and histrionics). First-pumping and head-nodding are near-involuntary reactions to the rocker. “Rock With Me” adds some assured harmonica work, expanding the duo’s sound in interesting directions while staying well inside the format: “Come on and rock with me!” exhorts Pip while the tune chugs along, full-tilt. The phase-shifting riffage of “Evil Hearted Woman,” plus some guitar-and-bass lockstep work and nimble drumming may remind listeners of Deep Purple, or perhaps of an uncharacteristically upbeat Black Sabbath.

And speaking of Sabbath, on “Gold,” the band slows things down to the sludgy pace favored by Birmingham’s finest; the result is reminiscent of The Open Mind (“Magic Potion,” also on Nuggets II). For “Doin’ Alright Tonight,” it’s back to the stomping boogie, with some nice staccato riffage enlivened by – you knew it was coming – cowbell. When the band sings the tile lyric, you’ll find yourself singing along in a shout (mirroring the lead vocal) or perhaps in a helium-voiced pitch (along with the backing singers). The Free-style lead guitar breaks are icing on the cake.

Rog & Pip won’t have won any awards for subtlety or originality with tunes like “A Little Rock ‘n’ Roll,” but the hard-rocking tune – in the mold of a Mud or even Suzi Quatro – remains fun indeed. The snaky, vaguely sinister “Hot Rodder” ranks as Our Revolution‘s most subtly-rendered tune, but if subtlety is your taste, best keep moving past this in-your-face set of tunes. “It’s a Lonely World” slows things down and sounds like a cross between The Marmalade (once again, check Nuggets II) and Jimi Hendrix‘s “Hey Joe.”

“Why Do You Treat Me Like That?” is in many ways a retread of “Why Won’t You Do What I Want?” but then since Rog & Pip didn’t hit pay dirt with the original tune, one can’t blame them for rewriting it in hopes of success (however futile). “From a Window” is not a cover of the Lennon/McCartney obscurity, but is instead a heavy riffer that ranks among Our Revolution‘s strongest tracks. It also moves beyond the glam style toward something heavier, all while keeping the tune built around insistent licks, a (one would have thought) sure-fire recipe for success.

Alas, it was not to be. The heavy “War Lord” combines the Black Sabbath aesthetic with the bubblegum sensibilities of Sweet, and the result is another ace tune. But none of Rog & Pip’s efforts got them anywhere, and their association ended by 1977. The liner notes that accompany this 2014 release tell the story in exacting and engrossing detail; lots of photos (the performing lineups, the rare singles and picture sleeves) make an very good package even better. Though the band’s “revolution” was not, in the end, widely broadcast, the discerning retro-minded rocker should not be without Rog & Pip’s Our Revolution.

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Album Review: Alice Cooper — Billion Dollar Babies

Monday, March 17th, 2014

On the occasion of its 2014 reissue on Hybrid SACD, Alice Cooper’s Billion Dollar Babies is due for a critical second-look. Originally released in 1973, Billion Dollar Babies was Cooper’s sixth LP, and the second-to-last to feature the original band. Though by the time of Babies, ace session guitarists Steve Hunter and Dick Wagner were already being enlisted to add their talents to the tracks.

By this point in the band’s career, they had achieved concert headlining status, and had a number of hit albums (Love it to Death and Killer in 1971, and School’s Out in 1972), and three Top 40 singles (“I’m Eighteen,” “School’s Out” and “Elected”) under their belts. Billion Dollar Babies would be their first number-one album (in both the USA and UK) and spawned three charting singles.

But it was as an album that Billion Dollar Babies achieved its greatest success. Not quite a concept album, the record does feature a sort of thematic unity. As ever, the songs explored outré subject matter and aimed to shock. How else to explain songs titled “Raped and Freezin’” and “I Love the Dead.”

With crystal-clear production by Bob Ezrin, Billion Dollar Babies makes complete the band’s move away from muddy, garage vibe of their days on Frank Zappa’s Straight label. With a production and arrangement aesthetic that positioned each of the record’s ten cuts as an anthem of sorts, the group perfected the balance of grimy scuzz-rock and gleaming, streamlined commerciality.

The Hunter-Wagner twin guitar attack makes its grand appearance in the album’s opener, “Hello Hooray,” a template for Cooper-the-man’s stage show. The theatrical bent that was central to the live show was successfully conveyed in this track. And while I haven’t done an A/B comparision between this SACD version and my old vinyl, Cooper’s (Furnier’s) voice seems to stand out a bit clearer in the sonic spectrum on the new release. There’s a definite tophat-and-tails overblown vibe to the track, but that’s certainly by design.

Its prurient title aside, “Raped and Freezin’” is a top-notch rock and roller, one that sounds like the group, something that can’t really be said of the opener. One supposes that since it’s the singer/narrator who ends up raped and freezin’, it’s okay. No matter: it’s a winner, and the stylistic left turn that it takes near the end (sort of a piss-take on Santana, perhaps) adds to its interest.

“Elected” is the album’s first breakout track. Cooper’s voice is still deep in the murk; the guitars are mixed much more forward than the vocal. But the thrilling chord progression that makes up the song’s chorus is stunning. And while the marching-band style horn arrangement no doubt came as a surprise to listeners on initial hearing, it pushes the song into classic status; nothing else the band did before or since sounds like “Elected.” The track may well have influenced The Tubes’ “White Punks on Dope” from just a year later, right down to the spoken outro.

The title track features another killer riff, and another left-field production choice: the addition of vocals by – of all people — Donovan. Hard rock with neck-snapping guitar duels was the order of the day in ’73 (see also: Thin Lizzy) and this cut is an exemplar.

“Unfinished Sweet” is the lengthiest cut on Billion Dollar Babies. Cooper’s singing is about as good as it gets, and the arrangement is quite interesting – there’s a spy-movie soundtrack include that quotes “James Bond Theme” — but somehow the whole track doesn’t hold together. Though the spy bit sounds great, it has nothing conceptually to do with the song’s slight lyric. And when the track devolves into a squawking interlude, one can’t help but think that it probably worked better live: it sounds like the soundtrack for some or other wordless onstage antics.

Billion Dollar Babies hits its high point on what was the vinyl LP’s opening side-two cut, “No More Mr. Nice Guy.” A near-perfect combination of memorable riffs, a singalong chorus and the band’s smart-alecky stance, it sounds as fresh in 2014 as it must have back in 1973. The track’s backing vocals are a key to its success, but every detail is in just the right place.

With “Generation Landslide,” the band aims for a T. Rex vibe, and takes a more musically subtle approach than anywhere else on the album. The track features shimmering acoustic guitar as well as delightfully busy, nimble and lyrical drum work from Neal Smith. Cooper emotes over the top of all that, and while he does a creditable job, the vocals are the least interesting component of “Generation Landslide.” The harmonica solo suggests what it might have been like to be sitting around a prairie campfire with the band. (Okay, not really.) Some tasteful vibroslap and an nice extended guitar solo make a good song even better.

“Sick Things” hasn’t worn well in the ensuing years since its release. Again, it probably worked exceptionally well onstage, with Alice running ‘round with snakes and guillotines and whatnot. And the arrangement ideas – specifically the turgid pace of the song — might have been filed away in producer Ezrin’s memory for use six years later when he worked on Pink Floyd’s The Wall. Ezrin got a co-credit on the tune.

The brief “Mary-Ann” is another piss-take, this time aimed squarely to shock and discomfit the band’s detractors who found their decadence (real and/or imagined) too much to take. The mock love song’s kicker (“I thought you were my man”) sits in stark contrast to the swirling music-hall piano arrangement.

That elegiac piano forms the basis of “I Love the Dead,” in which the Coop speaks a good portion of the lyric. The melody is punctuated by stinging guitar lines. Ezrin’s hand in the song is obvious; it’s more theater than music, and when Cooper finally does sing, it’s in a faux-scat dialogue with the lead guitar. Eventually the song hits its stride for a few measure, and then it breaks into a big production extravaganza, complete with a singalong feel to the title lyric. And then it’s all over.

It’s little more than my belated speculation, of course, but I’m left to wonder if the band wasn’t too enamored of the Wagnerian (sic) aesthetic that permeates a good half of the album, preferring instead to rock out a bit harder. That might help explain the more stripped-down approach taken on the next album, Muscle of Love. But that album and its (in relative terms, at least) commercial failure would be the last gasp for Alice Cooper the band; subsequent releases would feature Alice Cooper the man, and a new team built around Hunter and Wagner.

The 2014 SACD release features no bonus tracks, but it does include a booklet that reproduces all of the album’s original artwork and lyric sheets, as well as the one-billion-dollar note that came with the original LP. The SACD discs are released in numbered editions for those who care about such things; mine’s #1086.

You may also enjoy my review of three other Alice Cooper albums: Special Forces, Zipper Catches Skin, and Dada.

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45rpm Roundup

Wednesday, October 31st, 2012

The 45rpm vinyl format isn’t dead. In fact, I see more of those little seven-inchers in my mailbox these days than I did even a couple of years ago. Here I take a look at four recent submissions. None is at all musically like the others, and seven out of the eight songs are highly recommended.

D A W N S – “So Help Me God” b/w “Camouflage”
Reading about this one, I was expecting some sort of Americana-oriented sounds. In fact the press sheet sent along with the disc (actually a 33rpm record) notes that the “touring band is an eclectic six-piece outfit with upright bass, cello, lap steel, bow saw and percussion…” But that’s not the vibe they conjure on ”So Help Me God.” They stomp through the song, sounding like a more melody-oriented Arcade Fire with better songwriting and a singer whose voice doesn’t grate on me. The flip, “Camouflage,” does present a slightly more acoustic-flavored approach; the haunted and breathy vocals, shimmering guitars and sparse, echoey production recall Big Star‘s Third. How can that not be great? And the direction the tune takes in its final minute is an unexpected treat. Plenty of shade and light on this record; if it’s a teaser to a forthcoming long-player, I’m all ears. White vinyl.

Rick Berlin w/the Nickel & Dime Band – Always On Insane (“Summer Roof” b/w “I’m Jes’ Sayin’”)
Ska in 2012? Well, okay. Sounding like some bizarre cross between Warren Zevon and Mental As Anything, “Summer Roof” features peppy horns and a fun, shouted chorus. But the song detours into a lovely midsection that’s as far from bluebeat as one can get – it’s singer/songwriter-ish, even – before launching back into an exuberant yakety-sax solo. Loads of fun, this one. The flip “I’m Jes’ Sayin’” has a relaxed, jazzy vibe with some soulful vocals backed by some lovely, creamy oohs. As the song unfolds, it’s reminiscent of Pete Yorn‘s work circa Nightcrawler. This song could easily be the work of a different band, but since it’s not, I’m left to think that Berlin has an impressively wide stylistic palette.

Smash Fashion – “Blame It On the Brandy” b/w “Marionette”
Calling to mind the fun, sleazy and swaggering era that brought us Sweet, Alice Cooper and Suzi Quatro, “Blame it On the Brandy” makes no concessions to modernity: it’s timeless in its approach. Handclaps, a straightforward earworm riff (albeit one that owes more than a little to “Bony Maronie”) and plenty of power chords all come together to remind you that – Gary Glitter be damned – glam rock was a helluva lot of mindless fun. Some dual lead guitar work on the outro is a not-so-subtle hat-tip to Thin Lizzy. The flip, “Marionette” is every bit as good, sounding as it does like a lost prime-era Elton John track without the piano. Some Queen-like guitar heroics are icing on this glammy cake. Woo-hoo indeed. Full album, please…stat.

Dr. Manhattan – “Hot Sauce” b/w Dormlife – “Weak Sauce”
A lo-fi vibe and a slightly dorky campfire feel provide the basis for Dr. Manhattan’s song that seems to be mostly about smokin’ that shit. With a musical approach that’s a little bit like Violent Femmes, it’s fun in a rickety-jalopy sort of way. I can’t help picturing these guys in vests and fedoras, smirking their way through this barrelhouse romp, but it’s fun enough for what it is, in a modest sort of way. The flip from Dormlife is much stronger: it features tight’n'lovely vocal harmonies, a jittery stop/start melody, taut drum work, some aggressive acoustic guitar strumming and bursts of rubbery bass. Hard to pin down stylistically, it’s a sort of tuneful rethink of Red Hot Chili Peppers. Or something. Something good. Verdict: the “hot” song is relatively weak while the “weak” one is tasty stuff indeed. Clear red vinyl.

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