MP3: Gypsy Pistoleros - "Welcome to the Hotel de la Muerte"

Check out this rough mix of the title track from the Gypsy Pistoleros' forthcoming album (due in October on Lime Records).

"Welcome to the Hotel de la Muerte" mp3

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Review: Bigelf - Cheat the Gallows

Label: Custard Records

Released: August 12, 2008

Make a list of all the grandiose artists and albums in rock n roll history and you probably have a map of the influences on Cheat the Gallows. Bigelf manages to seamlessly move from one of rock's big ideas to the next, making an impressive sound for themselves in the process. It's scary territory and in a sense, it's the train wreck that didn't actually wreck.

Take a song like "The Evils of Rock n Roll." Over the course of six and half minutes, it goes from Sabbath to Budgie to the MC5 to Deep Purple to Sweet, not in a haphazard manner, but so smoothly that you'll miss it if you aren't paying attention. The whole album works this way. "Counting Sheep," the album's finalé, is Dark Side-era Pink Floyd and then before you know what happens, it's dabbling in the dark, heavy riffs of Black Sabbath only to finish up like an old vaudeville show. They borrow from several Pink Floyd eras actually, hitting up Syd Barrett on "No Parachute" and then borrowing the grand theatrics of the trial from The Wall on "Blackball." At other times, they help themselves to Aerosmith's early swing, Bowie's outrageous flamboyance and Queen's bombastic showmanship. In short, they aren't shy. In fact, other than a few of the bands they incorporate into their sound, almost no one has been able to go this far over the top and survive. Instead, they thrive on a sense of theatrics and an underlying soul that keeps Cheat the Gallows, with its ironic skepticism about fame and fortune, from being a regurgitation.

Nothing is entirely original. Nothing appears out of thin air. Everything has influences, but there is a popular misconception that if those influences are discernible, the band is not as original as if they're hidden deep under the covers. Bigelf proves that a band can wear its influences on its sleeve and be on its own trip nonetheless. Cheat the Gallows has liberal helpings of everything big and bombastic about rock n roll in its pot, but the stew it cooks up is fresh and new and downright exhilarating.

Ratings
Satriani: 8/10
Zappa: 8/10
Dylan: 8/10
Aretha: 9/10
Overall: 9/10

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If you're curious about my rating categories, read the description.

For another take on the album, check out the Heavy Metal Time Machine

Review: David Bowie - Live Santa Monica '72

Label: Virgin

Released: July 22, 2008

This set has long been known to Bowie fans, because of its quality and accessibility (it was broadcast on LA's now-defunct KMET after all). But there's more to it than just that. The show finds Bowie on his first US tour, completely immersed in his new Ziggy Stardust persona and at the first of his several artistic peaks. As far as his live performances go, his later, more refined periods probably couldn't match this for theatrics and raw power.

The great thing about Live Santa Monica '72 is that it captures Bowie's flamboyance, but also reveals the substance beneath. Without the benefit of a visual, the album still shows just how over-the-top the Spiders from Mars were. In the middle of the set, three acoustic tracks scale things back and make the set more intimate without losing its drama. Bowie's fearless improvisation of the things he couldn't bring from the studio to the live setting show tremendous trust for his music.

Something else of interest on Live Santa Monica '72 is that it makes two things even more clear than they are on his studio albums. First, he was heavily influenced by the Velvet Underground. His cover of "Waiting for the Man" is far from the only evidence of the connection as Bowie dips into Lou Reed's arty minimalism over the full course of the concert. Second, Bowie was a huge influence on punk. The raw energy and disregard for perfection on this album had to be an injection into the already bloated world of rock music. Even the extended jam of "The Width of a Circle" maintains an intensity that doesn't let up over its 10 minutes.

This had to be a pretty incredible time to see David Bowie and even though I'm sure the recording pales in comparison to being there, it manages to convey an amazing breadth of what he was doing. It's raw, yet theatrical. It's flamboyant, but never grandiose.

Check out that ticket on the album cover. Wouldn't you love to see Bowie for $5.50 today?!?!?

Ratings
Satriani: 6/10
Zappa: 8/10
Dylan: 8/10
Aretha: 7/10
Overall: 8/10

If you're curious about my rating categories, read the description.

DVD: Hanoi Rocks - The Nottingham Tapes

Label: MVD Entertainment Group

Released: June 10, 2008

Recorded 24 years ago in England, The Nottingham Tapes finds Hanoi Rocks at the time of their major label debut, but don't expect any of that Bob Ezrin slickness to be a part of this live show. This is more along the lines of a home video. When the lights go down, the screen is nearly black. The camera angles aren't great and at times obscured. Visually, it might not be a great experience. While that does have it's downside, the film's strengths can't be discounted.

Hanoi Rocks were never about high-fidelity and choreography like their watered-down followers, they were about rock n roll purity and that's just what you get here. This is real glam, not a bunch of guys trying to look pretty, but the raw swagger that was once portrayed by the New York Dolls and is now practiced by the Gypsy Pistoleros with few other than Hanoi Rocks in between. The crowd participation on their cover of the Ramones' "Blitzkreig Bop" that closes the show is just more evidence that Hanoi Rocks had a lot more in common with punk than with the pseudo-glam hard rock that permeated the 80s.

Michael Monroe and Andy McCoy are still at it today (with one of last years finest albums, Street Poetry) and they still seem to have plenty of steam, with as much swagger and sleaze as ever. As good as they are on The Nottingham Tapes, I bet they can live up to that today and until they come around, this DVD is a pretty satisfying consolation. For all its lumps, it's as close as you can get to being there for rock n roll at its best.

Rating: 8/10

If you're curious about my rating categories, read the description.

A new drummer for the Gypsy Pistoleros

*** Official Press Release ***
Ex Tigertailz Hero joins Gypsy Pistoleros !!!

U.S born, Ace Finchum ( Ex Tigertailz legend of a drummer ) has joined the Gypsy Pistoleros !!!!!
The Pistoleros have just signed to Blastzone Entertainment who will handle all things Gypsy Pistoleros in the US.

Releasing "Para Siempre" the new CD (Out now in Europe & Scandinavia through Bad Reputation ) in the U.S in July, through Nightmare Records & Distribution, KOCH USA and Canada. A limited edition 500 Albums will be pressed & released on Red Vinyl !

Gypsy Pistoleros will also be doing a US tour from late June till Aug. 9th 2008.

Including Rocklahoma 2008 on July 11th headlining the Tri-label stage to promotre the album.

Further bookings will be handled through Ugly But Proud out of Detroit, MI.

They also begin servicing radio with the first single from Gypsy Pistoleros "Para Siempre" album ,which is "Livin La Vida Loca".

So please if you are a Gypsy Pistoleros fan go and request the song.

Blastzone Entertainment Group and Gypsy Pistoleros will have list of stations serviced with "Livin La Vida Loca" very soon. We will also be doing a video of "Livin La Vida Loca" at Rocklahoma 2008 to service to video channels all over the world. If you want to be part of the video make sure you are at Rocklahoma 2008 to see Gypsy Pistoleros live.

Blastzone Entertainment Group and Gypsy Pistoleros have more major to come! So keep checking both our Myspaces at www. myspace. com/gypsypistoleros & www. myspace. com/blastzoneentgroup.

Make sure you add us both also.

Da Revolution is HERE U.S.A !!!

Review: Dirty Penny - Take It Sleezy

Label: self-released

Released: 2007

Dirty Penny's clear love of Mötley Crüe might be hard to take had the Crüe not stopped making good records way too early (two records, good as they were, is a short legacy), but under the circumstances, it turns out to be a lot of fun. I'm not exactly the world's biggest hair metal fan. Sure I like early glam, but too few bands from the 80s tap into the New York Dolls or Sweet or T Rex. Dirty Penny manages to touch on that though, albeit via Crüe. Still, if you're going borrow heavily, do it from a good band, particularly one who either quit or got sidetracked before their time.

While Dirty Penny won't get any award for originality, they get plenty of points for enthusiasm. Particularly early and late in the album, they really have a great ability find that perfect line between heavy and hooky. The first few tracks are in a sense what I expected to follow Shout at the Devil and even 25 years later and from a different band, I'm happy to hear it. Oddly enough, Take It Sleazy trades its punch for slickness for a few tracks in the middle (beginning with "Take a Bite"), sounding more like later, lighter Crüe. The album regains both its energy and swagger (and just a bit of Judas Priest crunch maybe) on "Vendetta" which leads to a strong finish...except for the acoustic redux of "Sleaze Disease," whose grandiose strings and overly clean, cold playing are overbearing and underwhelming. That last track, even viewed as a bonus track of sorts, is a shame, because it taints an otherwise really good album.

While Dirty Penny's metally riffs are refreshing, the solos tend, as most solos do, to be mundane. The mandatory guitar solo is really a fault of the genre's formula, but Dirty Penny keep theirs thankfully short and to the point. Solos aside, they have a true band sound where the whole is greater than the individuals that comprise it. Considering the genre, I didn't expect poetry in the lyrics and lines like, "Pedal to the metal, I'm gonna go the extra mile; Whoa-oh, I'm runnin' wild" came as no surprise. Still, their clever play on Elvis' "Love Me Tender" in "Black n Blue" brought a chuckle and I got more than I'd hoped right there. Another source of the album's strength is solid production. Dirty Penny, even on this studio recording, has a lot of live energy and that's captured here without sacrificing quality.

At this point, hair metal is a niche market (albeit a growing niche). While it will never reach it's commercial heyday again and it has more than a few lackluster practitioners, there are a handful of bands that actually breathe some life into it. There's nothing new on Take It Sleazy, but in this case that's not the end of the world. Had this come out 25 years ago, it would have been outstanding. Now, it's just very good...and very fun.

Ratings
Satriani: 6/10
Zappa: 4/10
Dylan: 5/10
Aretha: 6/10
Overall: 6/10

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If you're curious about my rating categories, read the description.

Review: Crash Street Kids - Chemical Dogs

Label: Hot City Records

Released: 2007

As their name implies, Crash Street Kids are big fans of Mott the Hoople. Even without that reference though, it would still be pretty clear. Their ability mix sugary pop with hard rock edge also raises the specter of early Sweet, but some of those guitar lines are unmistakable homages to Mick Ralphs. Throw in some of Thin Lizzy's grit, a healthy (though not compared to Queen themselves) dose of Queen's theatrics and a (surprise) rock star storyline and you have Chemical Dogs.

Does it sound derivative? In a sense, it does, but it also breathes some life into the original glam sound that often stands in the shadow of its inferior bastard child from the 80s. The vocals are down-to-earth, but lack power and range. The guitars are gritty and the rhythms straightforward. Sometimes, the Kids drift into a bit of AOR territory, but more often they're just enough over the top with grandiose string arrangements and flamboyant vaudeville piano parts. Sure, they aren't great technicians, but they play with heart and swagger...and it works! Crash Street Kids might not live up to their influences, but hearing them try is a good time nonetheless.

Ratings
Satriani: 5/10
Zappa: 4/10
Dylan: 6/10
Aretha: 7/10
Overall: 6/10

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If you're curious about my rating categories, read the description.

Live: Rude & the Rekkless, We Are the Fury, New York Dolls

February 12, 2008, Rams Head Live, Baltimore, Maryland

I wasn't sure what to expect of the audience at a New York Dolls show in 2008. Would it be mostly an older crowd who'd known the Dolls from their earliest days? A group of thirty-somethings who know the them as the influence on bands they liked say twenty years ago? How about the young hipster crowd looking to show how much they know about the roots of punk? As it turned out, it was all of that and more. This show took "all ages" to heart, running from kids whose parents probably dropped them off to people older than the Dolls themselves. It was a little light due to bad weather, but all were seemingly quite happy to catch the Dolls kick off their 2008 tour. The fans really ran the spectrum from punk to goth to glam to I'm-not-worried-about-dressing-up types. Over the last 35 years, the Dolls have managed to pick up a pretty good variety of fans.

The opening act was local Baltimore band Rude & the Reckless, made up of former and current members of several local punk outfits. The played their gritty journeyman punk with conviction, including a good cover of the Vibrators' "Baby, Baby, Baby." While their set was straightforward and fun, they did push their song "TV Addict" nearly to the edge before reining it back in. It was old school punk played by a group of guys that had been around awhile yet happened to have a ton of youthful energy. They may not have broken down barriers, but they rolled through their short set and got a fairly lackluster crowd excited.



Toledo, Ohio's We Are the Fury followed. Their brand of 70s glam-influenced rock was a good fit for the Dolls. They set high expectations when they came on stage to the music from A Clockwork Orange, but delivered. They tapped into Ziggy-era Bowie and Sweet primarily and like those artists, they weren't afraid of pop music, instead wearing it on their sleeves. With piano parts so flamboyant Elton John would be proud and a frontman who could keep up with Rod Stewart in his prime (even though his voice was far cleaner along the lines of Sweet's Brian Connolly), they were equally comfortable with slow boogie ballads and showtune-turned-rocker pop. Despite multiple unheeded attempts to engage the audience ("move up, this is a rock and roll show" and "there's no mosh pit, you don't have to be afraid of the music"), We Are the Fury was undeterred in the effort to put on an outstanding rock show. Surely they must have found the crowd's lukewarm response to be frustrating, but that frustration never showed beyond the puzzled look on singer Jeremy Lublin's face before diving back into the enraptured fit of raw, androgynous sexuality that was his performance. Too bad for the audience, because We Are the Fury was outstanding.



Unlike so many people, I was unimpressed with One Day It Will Please Us to Remember Even This. To me, the album was made by old men trying to sound young. The live show, on the other hand, wasn't like that at all. The only thing that indicated David Johansen's age was the little bit of pudgy belly that stuck out between his tight bell-bottoms and pink rhinestone studded shirt. Otherwise, he had all the engaging energy that he must've burst onto the scene with 35 years ago. Sylvain Sylvain was like a giddy little kid and was so excited to play that he exuded a kind of corny enthusiasm (the kind that would cause him to try to grab Johansen's package at one point and seem charming in the process or to continue playing through a broken string as if nothing had happened). Guitarist Steve Conte, bassist Sami Yaffa (ex-Hanoi Rocks if you were wondering) and drummer Brian Delaney kept the energy going, but had the good sense not to interfere with the magic between Johansen and Sylvain. It was that magic, as much as the music itself, that made this show so intimate. For just an hour or so, we were all New York Dolls, sharing the wild fun that continues to make them a great rock and roll band.

Typically, a reunited band generates the most excitement with their old classics, but the Dolls actually got as much out of this crowd with their newer material. "Fishnets & Cigarettes" got every bit as much of a roar as "Personality Crisis," which they tore into after sitting down for second then getting up and calling it their encore. They may be taking this opportunity to make some of the money they've long been due, but there's no doubt that they're willing to earn it in the here and now and not just cash in on their lauded past. Even if this wasn't the opportunity to see a bit of history that it was, a band who's influence extends across 35 years and far outshines its only meager commercial success, it would still have been a great time, because the New York Dolls, even at this point, put on an outstanding and outrageous show (without even dressing in drag). At one point, Sylvain announced, "It's a great thing to be alive!" Indeed it is, indeed it is.

Video: Gypsy Pistoleros - Un Hombre Sin Rostro, Pistoleros

Here's a new video from the great shining light in glam these days:

Interview: Gypsy Pistoleros

The Gypsy Pistoleros would be pigeonholed into a genre that I usually dismiss, but that would be a mistake in this case. Sure, there were some great glam bands, but most of those still hanging around are just old men who can't admit their day has passed or young bands that want to recapture glam at its commercial peak (which happens to be its creative slump, surprise, surprise). The Pistoleros are another story. Not only do they add a Latin flair to their music, but they also play it with an intensity and a hunger that is too often absent not only from their genre, but from rock n roll in general. I had an opportunity to get a little bit of insight into what makes the Pistoleros tick from frontman Lee Pistolero.

RnRnMN: You guys successfully marry glam with Latin music. How did you come by that idea?

Lee: I was living in Zaragoza (Spain) in 1992 after running away from London (Lords of the New Church, Kill City Dragons years) & then L.A.! I started a band there, discovered flamenco & rumba pop (Spanish late 70's/early 80's gypsy pop). Loved it!! Everyone said it was sacrilege & that you couldn't play it in a rock n roll band! I've always hated someone telling me i can't!!! So we played a couple of flamenco/rumba tracks when we supported The Ramones in 1993 Spain & it worked!! It rocks up really well!

RnRnMN: Do you worry that you'll be viewed as a novelty rather than a serious band because of the glam/Latin angle?

Lee: Were the Gypsie Kings a novelty? Los Lobos?? We do what we do!! I think that original, unique is fukkin amazing in this World of the norm, safe!! Glam was fun! Music should be fun, escapism!! We are what we are!

RnRnMN: You seem to be pretty close to the fans. I see you posting on forums and having a lot of direct contact with people. How do you think that personal contact effects your music? Do you think you'll be able to maintain that level of contact as the band gets bigger?

Lee: Yes!! We'll break our bollocks to!! Personal contact means everything. They are great critics. They want you to succeed & they tell you the truth (from the heart). No greater critics or advisors. It's getting harder as the volume increases, but when you have more time for the bullshit people than the REAL people, you're lost anyway!

RnRnMN: How would you define success as a rock n roll band?

Lee: 2009, we headline Rocklahoma! A new band being supported by the old legends! Someone turns round & says "You know Hanoi Rocks, Motley Crüe, Gypsy Kings, they sound a bit like GYPSY PISTOLEROS!"

RnRnMN: What's the story with re-issuing the album? Why change the title for a remaster with two extra songs?

Lee: BAD REPUTATION are a very happening label! Evil Boy Records couldn't cope with the demand, so (we) licensed it to a real record label! We recorded two new tracks & remastered the old album! It was recorded & mixed, mastered in 14 days, eveything (Joe Gibb is a genius a we owe him!) We couldn't afford the orchestra for 'Moonchild!' The next album will be on a different level! That said, I love this ugly baby!!

RnRnMN: The original release sold well without major distribution. How is Para Siempre doing with a push from Bad Reputation?

Lee: No idea, the pressings were ready 24th January! I bloody hope it sells!!

RnRnMN: You have quite a few fans in the US. When will the album be available over here?

Lee: On import you can get it from Bad Reputation. We are in discussion with major U.K & U.S management & U.S Record Companies!! Hence us pulling out of our U.K & Euro Tour to demo the next album, etc!! Its killing us, but this deal is massive!!

RnRnMN: What's the scoop with Eric Stacy? Did you ever work with him or did the whole thing fall through before you got together?

Lee: Love Eric. We thought it could work but all he was interested in was $$$. Never even asked about the music?? We recorded the two new tracks as a four piece & it sounded great! So we didn't need him. (He didn't take it too well!)

RnRnMN: You're one of the few bands in the glam genre that is actually pushing the boundaries rather than living in the past. Is it frustrating having to open for bands that aren't doing much more than reliving past glory like at Rocklahoma?

Lee: I used to love L.A Guns, Pussycat, Bang Tango, etc. & still do! They just aren't as hungry as us neverhavebeens! We lived & died on those Euro dates onstage! Scenario- we sing in half Spanish/English, no one had heard of us in Austria, Budapest, Italy, Germany but we went for it (for the throat, like every gig was our first & last). Not a poster in Vienna, but an encore after they had to switch the disco off after the crowd went mad. Those are the nights that make you realize why you sleep in vans, don't eat, fuck up everyone you leave behind! When Chad Stewart comes out to the merch stand & announces "this is Chad Stewart from L.A Guns, (silence, then) over here with the GYPSY PISTOLEROS", then mania. In a City that had never even heard of your band 3 hours ago but now loves you. We returned to London with L.A. Guns after 2 Months on the road & were met by loads of people in Pistoleros t-shirts in the crowd (God, we loved them for that).

RnRnMN: I heard there would be a full US tour this year. Is that true? Will you be headlining or opening for a bigger act?

Lee: No idea bro! The politics & major interest means that it is out of our hands! We love the U.S. & have had a real backlash in the U.K. over it, but we will be back soon. Hopefully before ROK 08!

RnRnMN: Who do you think are the top acts in the glam scene today?

Lee: God, i thought long & hard! I used to love Hanoi Rocks, but our album just blows their new one away!! Crystal Pistol, Crash Diet, Crazy Lixx, I love the Scandinavian bands, plus our good U.S. bro's Dirty Penny (who are like brothers)!! No one really comes close to us at this moment. The next album is way better too! Sorry if i sound like a conceited twat, but i have supported the greats (in my eyes) U2 the early years, The Lords Of The New Church, The Ramones, Motorhead, UFO, DIO, SABBATH, etc. I wouldn't have bothered if this band was ordinary!

RnRnMN: If the Gypsy Pistoleros have a message for the world, what would it be?

Lee: Fuck, life is short! Laugh, smile. Fuckin' live! Always chase your dreams & never, ever say "If only!!!"

RnRnMN: Pick your favorite from each pair:

Beatles versus Rolling Stones - Can't, yin/yang
Hanoi Rocks versus Motley Crüe - Can't
Ramones versus New York Dolls - Can't
Hank Williams versus Johnny Cash - The man in black
Slade versus T Rex - Slade

Review: Gypsy Pistoleros - Para Siempre

Label: Bad Reputation

Released: January 15, 2008

For those not familiar with the Gypsy Pistoleros, they play sleazy, gritty glam with a touch of Latin flair (although not quite as prevalent as they sell it, it certainly amounts to a lot more than just some Spanish lyrics). Unlike the many bands from the hair metal heyday of the 80s that refuse to die a dignified death (let's face it, dignity wasn't exactly their thing anyway) and the many new bands that simply regurgitate material that, with a few exceptions, wasn't all that great the first time around, the Pistoleros are an exciting rock n roll band. Their energy, swagger and creativity is more reminiscent of the original wave of glam bands that dominated the British rock scene of the 1970s even if their sound has much in common with early Motley Crue as it does with Mott the Hoople. In a genre that seems like it should be long dead, the Gypsy Pistoleros have more than enough life to stay afloat in what is otherwise a fairly stagnant sea.

Para Siempre is essentially a re-release of the Pistoleros debut, issued last year on Evil Boy Records, remastered with two additional tracks. The remastering made a noticeable difference. The sound on Para Siempre is considerably richer and packs a solid punch even if the previous release was entirely acceptable. The track list was rearranged to include the additional songs and the flow is every bit as good. "Chicas Peligrosa" is more of the same fun that's to be expected from the band, but their cover of "Livin' La Vida Loca" (yeah, it's the Ricky Martin song, but something tells me their crazy life is a little bit different than his) is the big surprise. It takes the catchy pop song, gives it some teeth and stirs it into an actual rock song. If anything justifies buying this repackaging, this cover is it. For those who missed the original release, you luck out, because they improve upon an already very good record the second time around.

Rating: 8/10

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Review: Soho Roses - Whatever Happened To...

Label: Full Breach Kicks

Released: August 21, 2007

Here in the US, when most people think of glam, they think of Sunset Strip scene of the late 80s where hairspray had more to do with a band's success than their music. Little known to so many on this side of the Atlantic, there was another glam scene across the ocean that ran concurrently. With Hanoi Rocks as its kings, bands like Dogs D'Amour and (London) Quireboys were only known by a handful of rocks fans over here. These bands weren't just a bunch of pop bands with big hair and over-indulgent guitar solos. They were rooted in real glam like T Rex, Sweet and Slade as well as the punk rock of the New York Dolls, the Sex Pistols and the Buzzcocks. Many of these bands did just fine for themselves in the UK and Europe, but failed to make a dent over here. One of these bands, Soho Roses, was an almost complete unknown in the US, much like their highly influential predecessor Slade was during glam's first wave.

During a short run in the late 80s, Soho Roses recorded two EPs (a 7" and a 12") and one LP, all of which are obviously out of print. Almost 20 years later, the material is finally being re-issued. Don't be put off by the glam tag if you associate it with LA, because Soho Roses' music is dirtier and grittier. As they say themselves, it isn't "Sunset Strip crap." While the subject matter isn't exactly rocket science, the music is played with true rock n roll swagger rather than silly staged theatrics. Their cover of the Buzzcocks' "What Do I Get" shows that they were, as glam truly was, more at home with punk than metal. While they aren't the caliber of Hanoi Rocks, they're at very least in the ballpark of Dogs D'Amour. They're a fine treat for anyone who prefers a little bit of real rock n roll over the corporate business rock that put on some lipstick and eyeliner over here in the 80s and they're downright essential for fans of real glam.

Rating: 7/10

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Review: The Ark - Prayer for the Weekend

Label: Roxy Recordings

Released: April 16, 2007

The Ark don't do a single original thing on Prayer for the Weekend, but how many bands really do? To understand a band like the Ark is to understand their influences. In their best moments they channel the likes of Queen, Sweet and T Rex. They have a huge arena-sized sound and all the necessary bombast to pull that off. Whether they're recreating the dance-infused rock of Queen's "Another One Bites the Dust" on the title track or the simultaneously silly and heartfelt teen anthem of Sweet's "Teenage Rampage" on "New Pollution," the Ark can can bring the best of big 70s rock into their tunes. Like their early glam influences, the Ark also successfully marries a big rock sound with candy-coated pop hooks and even the heavy hints of ELO's slick strings work well for them. Oddly enough, the Ark is at their best when they're completely over the top just like the early arena rock bands they emulate. At times, they rein themselves in and the more subdued approach hurts the album. More often though, they draw enough from the best of some of rock's most grandiose bands and package it together in a way that makes their revival pretty easy to buy into. Frankly, this is not typically my thing and yet I found myself engaged by Prayer for the Weekend rather than appalled by it.

Rating: 7/10

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Review: Crashdïet - The Unattractive Revolution

Label: Universal Music AB

Released: October 3, 2007

Even as an undercurrent to mainstream rock, a glam revival was one of the last things I expected to see. But this year has proved that a genre that was crumbling under its own bloated self twenty years ago might still have a little bit to offer. Sure, it's full of "reunions" where one original member is trying to cash in on past success that they often never deserved in the first place. The big glam event of the year, Rocklahoma, was a nostalgia fest at best despite its commercial success, because it focused on the has-beens. What it ignored was that some things going on in the glam scene have more to offer than just the past. The latest Hanoi Rocks is a change in tone, yet one of their best albums, the Gypsy Pistoleros have infused old sleazy hard rock with a Latin flair and now Crashdïet has shown that a little youthful energy goes a long way even when rehashing the stupidity of a shallow genre.

Silly stage names and umlauts didn't bode well for Crashdïet and while there's nothing musically new about The Unattractive Revolution, it's clear from the opening track that they have enthusiasm for what they're doing. Granted the revolution is a fake and the lyrics, while pretty literate by hair metal standards, are an inane treatise on hedonism, but that does little to interfere with their high-energy rock experience. At their best, they mix the heaviness of metal with the swagger of sleaze, walking a line that most of their predecessors never attempted in lieu of the slick soulless formula. They do get off track at times, sounding a little too much like Motley Crue here (minor flaw) and drawing a little too much from Bon Jovi there (major flaw), but these moments are the exception rather than the rule. It may be of note to some that Mick Mars helped out on two tracks, but his skills being what they are, it isn't really noticeable.

While I don't think you can trade intoxication for salvation as Crashdïet would propose, you can trade passion, even somewhat misplaced, for a new sound...at least sometimes. For whatever reason, Crashdïet gets away with it on The Unattractive Revolution. If you like to spend a lot of time in the superficial world of glam, Crashdïet is a much better alternative than the Bang Tangos and Faster Pussycats of the world who stake their claim to the past on one original (often old and tired) member.

Rating: 6/10

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Review: Hellcity 13 - s/t

Label: Break a Leg Entertainment

Released: October 24, 2007

Going into this review, I was under the impression that Helsinki's Hellcity 13 was just another Scandanavian glam band, but unlike the rest, they don't just want to revive hair metal, they want to revive the 80s almost as a whole. There is hard rock bombast that runs throughout the album, but I thought of Dead or Alive as often as I did Def Leppard. In many ways, they are able to bring AOR, glam, goth and synth pop together into one retro package. The trouble is that this combination, as seemlessly as they pull it off, is making music out of the least common denominator. Sure, they occasionally muster up a little bit of swagger and once in awhile they might even make you want to dance, but mostly they're just a reminder that rock and pop had hit a creative low point in the 80s.

They capture the musical aspects of the Reagan-era at all levels, from the writing to the performance to the production, and for those who aren't bothered by the decade's shallow veneer, Hellcity 13 are entirely competent to help them live in the past. For those who want anything more, move along. That's as much as this album offers.

Rating: 4/10

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Review: The Flairs - Shut Up and Drive

Label: Bad Reputation

Released: November 2007 in Europe (June 13, 2006 in North America)

The Flairs play a brand of hard rock that falls somewhere between glam and punk. Shut Up and Drive is a peppy album of chunky rhythms and snotty vocals that seldom lets up. Aside from a 3/4 female line-up, it's nothing out of the ordinary. The music falls somewhere between the Donnas and the Pandoras, but lacks the light-hearted bluster of the former and the gritty toughness of the latter. Aside from their cover of Skid Row's "18 & Life," they are entirely listenable even if uninspiring. However, the cover is poor enough to drag the whole album down a notch. It does nothing aside from regurgitate the original only without the ability to sell its contrived nature as reality. There is nothing difficult about the Flairs and once the album is playing, there's no reason to turn it off. The trouble is there's nothing compelling to come back for another listen.

Rating: 5/10

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Myspace: Niki Thunders and the Temperamentals

Niki Thunders and the Temperamentals is the side project of Skitzo Calypso singer/guitarist Brad Cox. It's a bit of an alter-ego, drawing more influence from punk, 80s pop and glam than the melodic hard rock of his main project. Niki Thunders offers three moody songs on Myspace that are somewhat varied musically, yet very cohesive.

"To Die Like Morrison" begins quietly and moves toward driving punk and metal rhythms, dark goth vocals and a mix of synth and guitar layers. There are interesting hints of ska that crop up which creates tension in the otherwise dark song. Even the bombastic hard rock parts work really well in their role. The lyrics deal with serious questions about the nature of God, a topic that easily falls into cliches , but not here. Next up is the 80s alterna-pop of "The Sickness of Dreams." It taps into the Cure and New Order, but offers it up on a plate of hard rock that replaces the drama of its influences with a more believable edginess. "A Vietnam in the Neighborhood" is similar in influence to its predecessor, but has more punk energy and once again incorporates hints of ska that work subtly against the current of the song.

Niki Thunders seems to be much more free in its creative expression than Skitzo Calypso, perhaps because it's a singular vision rather than a collaboration. However, Brad Cox has enough breadth of influences that he subtly weaves into the music to keep things interesting. I'm definitely looking forward to more from this project.

Check out the review of Skitzo Calypso's latest, Between the Lines and Beyond the Static.

Review: The Soda Pop Kids - Teen Bop Dream

Label: Full Breach Kicks

Released: September 4, 2007

In their prime, Sweet was only about a half step from being the Bay City Rollers, but that half step made all the difference in the world and Sweet remains one of the best of the early glam bands. However, their close proximity to badness is a potential pitfall they pass on to any band that imitates them. Hence, sounding a bit too saccharine is the Soda Pop Kids biggest problem.

The album starts off on the wrong side of the fine line between Sweet's pop rock goodness and the Bay City Rollers' sickening sweet imitation. The whole album is merely an homage to early 70s glam rock, but the first four tracks lack the edge and energy that better bands combined with AM pop hooks into that inarticulate rock expression of William Blake's innocence versus experience. However, the album picks up down the stretch. Starting with the dirty rock n roll balladry of "Another Cigarette Ends," the album draws a bit on the New York Dolls and pulls itself back onto the right side of the aforementioned line. Whether it's the agitated shuffle of "Six Gun Senorita," the loose soul of "Bloodshot Eyes" or the straightforward pop energy of "The Soda Pop Sting," the second half finds the Soda Pop Kids offering up a worthy tribute to an underserved genre that had its name stolen by inferior though vastly more popular bands a decade later.

Teen Bop Dream is no more trying to change the face of rock n roll than it is trying to hide its identity. This is a revival record that brings very little to the table that wasn't done 35 years ago. However, once it hits stride, it captures a lot of the best qualities of early 70s glam, making it a fun listen even if they are just as cartoonish as the album cover.

Rating: 6/10

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Review: Underground Rebels - Insult to Injury

Label: self-released

Released: 2007

The Underground Rebels have a decent hard rock pedigree featuring former Faster Pussycat guitarist Brent Muscat and former Cult drummer Lez Warner, but the band is really the creative (or not so creative) child of singer/guitarist Kurt Frohlich. Those expecting the swagger of Faster Pussycat or gritty hard rock of Electric-era Cult, beware, because this album won't measure up to those expectations.

It actually starts off well enough, delivering good energy and at least some catchiness even if it isn't breaking any new ground. Unfortunately for the glam fans who might be drawn to this, the better of the two actually sounds more like pop punk than hair metal. Over the course of the album, there are a few tracks that repeat the semi-success of the first two, but most of the album gets bogged down in being bland and generic, borrowing from the likes of Def Leppard, Billy Squier and even Godsmack (yikes!). Toward the end they try to capture a bit of Stonesy swagger, but end up sounding even weaker than the Stones themselves these days. The Underground Rebels also offer a pair of covers, "Tainted Love" and "War Pigs." The former comes out okay, but largely due to the fun inherent in the song, not due to any compelling elements of their version. Their "War Pigs" cover is the real disaster though. If you're going to cover Black Sabbath, either make it heavy (like most bands) or make it different (like the Cardigans' excellent cover of "Iron Man"). They do neither, offering up instead what might as well be the elevator version. It's sad.

The Underground Rebels try to create their sound be bringing together the most generic elements of popular music and the result is fairly amateur. They (or Frohlich at least) don't seem to be in a good place as artists. They're trying to make a record that sells based on what has sold in the past rather than gambling on what may sell in the future or being true to an artistic vision. The result is an album that would have some appeal and perhaps a little more novelty value for glam fans, but little for the rest of us.

Rating: 4/10

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Review: Hanoi Rocks - Street Poetry

Label: WolfGang Records

Released: September 3, 2007

There really are far too many bands still lingering around from the hair band heyday of the late 80s. It seems like every time I turn around, there's another one releasing an album that tries to recapture the days when they were more popular than they ever deserved to be or touring to cash in on nostalgia for the days when it was cool to be dumb. When I saw that Hanoi Rocks had a new album, I feared that they would be no different. What I found is that not every band from those days is washed up and cashing in. Over a quarter century since their first album, Hanoi Rocks sounds as fresh as ever.

One thing that really makes them stand out is their underlying pop sense. Their songs are as gritty as the best the genre has to offer, but under that grit, there are hooks. These aren't Mutt Lange or Desmond Child hooks either. These are the kind that come out of a real band that knows itself. Better still, none of them is a great player, but they don't cover it up with slick production. Instead, they wear their lumps for all to see and their genuine nature gives these songs a depth that their contrived peers, with all their formulas for success, can't touch. Even better yet, they don't just stick to the standard hard rock framework. They reach back to the original glam bands of the 70s, throw in great pop and soul and even hints of funk and Western at times and the album has greater texture for it without abandoning the core sound.

Unlike so many bands where the individual players tend to show off at the expense of the songs themselves, Hanoi Rocks makes every note count. They play as a band in the truest sense of the word. You can hear it, amond many places, in the solo in "Hypermobile." It's simple, yet interesting. Most importantly, it's concise, never for a moment being about the player instead of the song.

The liner notes contain the common "no synthesizers" disclaimer, but on Street Poetry, Hanoi Rocks goes beyond just avoiding synthetic instruments, they avoid being synthetic. The title track, when taken along with the story of the street poet in the notes, is touching and the song really brings that to life. Rather than write about parties and chicks, they take on some serious, very human subject matter. They leave their own truth on the table and that lets them get away with song titles like "Teenage Revolution" and "This One's for Rock n Roll." Had the album not gained my trust, I would likely have dismissed both songs on their titles alone. What's with this "teenage" thing? These guys are well into their 40s! However, because they made me take it seriously, I found that "Teenage Revolution" is really talking seriously to kids, not about them or at them. Had they not established that this album has a heart, I might have missed that.

There are a few tracks that border on filler toward the end, but they only stick out because the rest moves forward with purpose and honesty. While they jump out of the gate with the opener, "Hypermobile," they tie the album up neatly with "Fumblefoot and Busy Bee," more of an epilogue than a song in its own right. It's a bit different than the bulk of Street Poetry, but as such provides the perfect closing.

With only two original members and being so far from Hanoi Rocks' heyday, there is every reason to bet against Street Poetry, but don't take that bet, because it, unlike the album, is a loser.

Rating: 8/10

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Review: Gypsy Pistoleros - Wild, Beautiful, Damned

Label: Evil Boy Records

Released: June 4, 2007

I can't say I'm a huge fan of glam after 1985 or so. I certainly like T. Rex and Sweet and Bowie. I like the New York Dolls and early Alice Cooper. I even like a fair amount of the glam revialists of the early 80s, but by the mid 80s, the revival seemed to have lost sight of its roots. It became stale and formulaic and all but a few of those bands seemed to be going through the motions at very best. That makes me wonder why anyone would want to resuscitate the genre at this point. It's over, it's spent, leave it alone. Then along comes the Gypsy Pistoleros to show me exactly why.

The Pistoleros claim to be "flamenco rock." It's a claim that leaves one asking, "What? How can that be?" It could be great and it could be a disaster. Wild, Beautiful, Damned shows the flamenco part of that claim to be a bit of a stretch, but the result is far closer to greatness than disaster. There is a very slight bit of Spanish flavor to their music, perhaps attributable to singer Lee Pistolero's days living in Spain, but the principle ingredient is the loose, dirty swagger of glam in its glory days (yeah, the 70s, not the 80s). The Pistoleros manage to do everything right and still make it feel wrong in the way that good rock n roll always should.

They've been touring with the likes of Adler's Appetite (least important GnR alumni Steven Adler's joke of a band) and piecemeal 80s metal acts like Bang Tango, Faster Pussycat, Bulletboys and LA Guns that should be ashamed of their whoring selves. They even opened the inexplicably successful Rocklahoma nostalgia fest. But it's the new kid on the glam block that really carries the mantle of the music that was established back in the 70s. If glam is in fact alive, it is not because of half-baked reunions and bands trying to relive their ill-gotten glory, it's because the Gypsy Pistoleros can channel the Dolls and T Rex into something new, fresh and a little bit dirty.

Rating: 8/10

Thanks to Bring Back Glam for pointing the Pistoleros out in the first place.