Backstage Pass: Greg Kihn - The Beserkley Years

I'd never heard of the guy before, or this west coast independent label he was on, but my friend had several of his albums, and when Kihn got big time radio play with the Breakup Song, he shared those previous releases with me, which I enjoyed - so much that when I found them in the cutout section at one of the chain records stores, I added them to my collection as well. 

Note: On August 13, Greg Kihn passed away at the age of 75 - shared sorrow with his fans, with thoughts and prayers to his family.

Greg Kihn (1976)

Tracks: Don't Expect to Be Right / Any Other Woman / Emily Davison / Try Try to Fall in Love / Kid from Louieville / Worse or Better / He Will Break Your Heart / What Goes On / Satisfied / Why Don't You Try Me

The cover showed the singer/songwriter standing in front of the record store where he worked at the time, and the music inside made for a respectable introduction to the artist's brand of poppy rock (Worse or Better), with a dash of folk (the pretty cover of Cooker's, Try Try to Fall in Love). The repetition can work against it in spots (Any Other Woman, which is not a bad tune, it just needed something to break it up). 

Story song Emily Davison is based on a true tale, and has a nursey-rhyme like cadence, which makes for a fascinating blend of music and lyric. The mellow stroll of a tune, Kid from Louieville is the highlight, though with its 5:23 runtime, it overstays its welcome.

Greg Kihn Again (1977)

Tracks: Love Made a Fool of You / Island / Last of Me / Real Big Man / Politics / Hurt So Bad / For You / If You Be My Love / Madison Avenue / Untie My Hands

Greg's second time at bat was a step forward. This rates among my favorites from Kihn. And I don't know if it was due to working with an indie label with a smaller budget, but there's something about the quality of the overall sound - it's professionally played and produced, but not overly slick, it had a unique tone to it that I liked.

The melodies and overall songwriting are tighter, more memorable. The pretty ballads, Last of Me (love that cool cascading bass/guitar line) and If You Be My Love, which boasts sweet harmonies and superb melodies, and structures, are standouts. Greg's in fine voice, both dramatic and smooth (see Politics, for one), Larry Lynch's rolling drum pattern add character to Politics, and he and Steve Wright's bass work on Hurt So Bad help make that a winner. Dave Carpender plays a mean guitar on the closing instrumental and is an asset throughout (his lovely lead riff on Hurt So Bad, for another) - also, former guitarist Robbie Dunbar is present (and excellent) on the Springsteen cover, For You.

Finally, that album cover would be troublesome today, might have been troublesome in '77, but I was fascinated by it, it didn't seem to have anything to do with the contents inside. Island has a Jamaican tenor, but that's the only tune that travels to other lands (Greg says he has an interesting story about this, but so far, he hasn't shared it as far as I know).

Next of Kihn (1978)
Tracks: Cold Hard Cash / Museum / Remember / Chinatown / Sorry / Everybody Else / Understander / Secret Meetings

Kicks ass right out of the gate, with Greg belting out the line "Gimme Gimme My Money" (akin -cough- aKihn to Spinal Tap's, "Gimme Some Money?" lol) No covers here, all the tracks were written by Greg, and they frequently smoke - the fast and furious Museum is marked by frantic drumming, screaming lead guitar, power popping melodies and sharp harmony, and later, Chinatown hits hard and heavy with electrifying instrumental play.

It cools down a bit with a 12-string opening for Remember, a near 7-minute jazzy masterpiece, that according to Khin's website, had to be recorded live in one take, due to its complex arrangement. Carpender and Khin's deft finger picking is elaborate and gorgeous, equally laudable are Wright and Lynch's contributions. If I were to make a list of the band's greatest songs, this would easily rank at the top spot.

The second half introduces some Beatle-esque pop rock (Sorry, Everybody Else) and Understander blends both - it has some thumping, echoing drum, and impressive Byrds-like vocals.

Arguably the bands finest hour, in under an hour (it runs 36 min).

That eye grabbing cover art was done by Michael Zagaris

With the Naked Eye (1979)

Tracks: Rendezvous / In the Naked Eye / Getting Away with Murder / Moulin Rouge / Beside Myself / Roadrunner / Another Lonely Saturday Night / Can't Have the Highs (Without the Lows) / Fallen Idol

The first LP released as the Greg Kihn Band treads along a comfortable pop-rock pathway and apart from Moulin Rouge, rarely strays from that. There's nothing bad about this (aside from the hilariously melodramatic Fallen Idol, which makes me wince), only, it doesn't deliver on the promise of the previous release. The rockers aren't as enduring or endearing, and it never takes you somewhere different, the way Remember did. So no, it's not a creative leap forward, but for energetic happiness etched on vinyl, this does the job. It's an innocuous collection of listenable, likeable rock, well performed and sung.

Note: Larry Lynch sings his own Can't Have the Highs, I believe that's the first without Greg as the lead singer, but it won't be the last.

Glass House Rock (1980)

Tracks: Castaway / Desire Me / Anna Belle Lee / Things to Come / Small Change / The Only Dance There Is / The Man Who Shot Liberty Valance / Serenade Her / Night After Night / For Your Love

Kihn enters the 80s with a harder sound, and a keyboard (played by Gary Phillips). The bass/keys combo rumbles on songs like Desire Me (which anticipates the 'stay in the groove' repetitions you'll find from Kihntinued on), and the beautiful, mid-tempo ballad Anna Belle Lee (on the instrumental bits at the end). 

The album ratchets up with the finger snapping boogie of Things to Come, Carpender's fuzz guitar opens the bluesey The Only Dance; so, there's a variety of styles married to the groups power pop.    

Greg shares vocal duties with bassist Steve Wright and drummer Larry Lynch on tracks 7, 9 & 10. They're okay, but Kihn's smokey, scratchy vocals are always preferred, and the release suffers a slump in this section, with that and the covers (and Serenade Her, which sounds like Jerry Butler's, He Will Break Your Heart at the start). It's a shame, but silver linings, those first 6 numbers truly shine, so skip the final 4 and call it a great EP. 

Note: From here on we no longer see Greg on the Beserkley covers, and while this has nice color and design, I can't tell if that gloved hand is pointing or flipping us off? HaHa.

RocKihnRoll (June 1981)

Tracks: Valerie / The Breakup Song (They Don't Write 'Em) / Womankind / Can't Stop Hurting Myself / Trouble in Paradise / Sheila / Nothing's Gonna Change / The Girl Most Likely / When the Music Starts / True Confessions

Power Pop at its power poppiest! Greg has covered Buddy Holly in the past, and covers Tommy Roe's Holly-like Sheila here, so that's the vibe on his 6th release, that's the vibe you get from the opener, Valerie, and the following number. 

Yeah, The Breakup Song, that was a game changer for Kihn. It received steady radio play, and was his highest charting single to that point, climbing all the way to the 15th slot on the Billboard Hot 100. Every piece of that song, from the "Uh-Uh-Uh's" to the guitar riff and keys, and chorus, are the epitome of an 'ear worm'.

For me, the strength of the release is those first 4 numbers; the rest of the album is good (When the Music Starts is a standout on the second side), but the fantastic four are on a whole other level. That said, if you're craving finely crafted tunes with hooks galore, you can't go wrong with either side of RocKihnRoll. 

Oh, and cool cut-out art for the cover.

Kihntinued (1982)

Tracks: Happy Man / Every Love Song / Everyday/Saturday / Dedication / Tell Me Lies / Testify / Sound System / Seeing is Believing / Higher and Higher / Family

While Happy Man (which they did a music video for) seems to signal a repeat of the style of the previous release, this one quickly goes down its own path, a little funkier (Every Love Song), a little Reggae-ish (Tell Me Lies), a little New Wavey (Everyday/Saturday) with a little mix of each (Sound System). 

It is interesting how several tunes lock onto these ostinatos, usually provided by Steve Wrights bass, and keep to a steady tempo and structure. (Overall Kihn's not a big bridge guy, and while I think certain songs could benefit from such detours, he tends to stay the course.)  There's some good, groovy stuff here, with my favorites being the foot tapping first, and the laid back last (Family), though there's a sameness in tempo and style that undercuts the overall effectiveness of the whole. Still, I appreciate that the band didn't want to rest on its laurels. 

Sadly, this will be guitarist Dave Carpender's last album with the band.

Kihnspiracy (1983)

Tracks: Jeopardy / Fascination / Tear That City Down / Talkin' to Myself / Can't Love Them All / I Fall to Pieces / Someday / Curious / How Long / Love Never Fails

Featured the bands only top 10 hit on the Billboard Hot 100 (landing at #2, behind the wall that was Michael Jackson's Beat It), Jeopardy is one groovy, danceable tune, it's easy to see why listeners ate it up and allowed it to rocket up the charts. The up-tempo, hook-leaden Fascination that followed wasn't bad, but it then settles into a series of nondescript numbers that were neither here nor there. okay, but unremarkable. My least favorite from the Beserkley era.

Greg Douglass takes over as the band's guitarist.

Kihntagious (1984)

Tracks: Reunited / Rock / Make Up / Stand Together / Confrontation Music / One Thing About Love / Worst that Could Happen / Trouble with the Girl / Cheri Baby / Hard Times / Work, Work, Work

Oof, these puns - the album starts off with the winning staccato rock of Reunited, which was giving the music video treatment. The rest of the record features the repetitions he's been leaning in to, offers a few that have a funky feel, a bit of reggae (Confrontation Music, perhaps a tribute to Marley, who released an LP titled "Confrontation"?), and blue-eyed soul (Make-Up), these and the others are all good enough, but, aside from the first and Hard Times, don't thrill my ear the way his early releases did, it's "workmanlike rock", competent, but not elevating, and in truth it's not really my thing, I like pop-rock Greg, I like the folkier flavored Greg, but I'm losing interest in funky Greg. 

End of an era: This will be the final album released by Beserkley, and marks the last time he'll record with Gary Phillips and founding member Larry Lynch. 

And that's it for this stage of his career. There were further albums, so there could be a part 2, once/if I give them a go.

Post Beserkley studio releases (no compilations or live albums) 

1985 Citizen Kihn / 1986 Love and Rock and Roll / 1992 Kihn of Hearts / 1994 Mutiny (used copies on disc, not streaming) / 1996 Horror Show (import CD only) / 2017 Rekihndled

The Essentials 

1. Next of Kihn (the band at the peak of its creative powers) 

2. Greg Kihn Again (With the addition of Carpender, the pieces are all in place)

3. RocKihnRoll (power pop that put the Greg Kihn Band on the map)

4. Greg Kihn (self-titled debut, to hear where it all started)

And wrapping up the Beserkley years

5. Glass House Rock 

6. With the Naked Eye

7. Kihntinued 

8. Kihntagious 

9. Kihnspiracy

Backstage Pass: Nazareth from '71 to '81

Nazareth formed in December 1968 in Dunfermline, Scotland, from the remaining members of semi-professional local group the Shadettes (formed in 1961) by vocalist Dan McCafferty, guitarist Manny Charlton, bassist Pete Agnew, and drummer Darrell Sweet - Wikipedia. 

When Manny, and later Dan passed away in 2022, I revisited my old studio albums. Here's what I thought of them.

Nazareth (self-titled debut - November 1971)

Tracks: Witchdoctor Woman / Dear John / Empty Arms, Empty Heart / I Had a Dream / Red Light Lady (Parts 1 & 2) / Fat Man / Country Girl / Morning Dew / King Is Dead

Way back when it seemed maybe a little too diverse, but in hindsight it was a fitting introduction, it has the grinding rock, blues, country, a cover of a folk tune, a lush AOR ballad… it’s like they were setting the table for the career to come, “This is what you’re going to get from us over the decades”, next LP will be folky, following that, a rocker, etc etc.  

While the debut might not rank among their giants, it’s a solid first step, and with standouts like the soaring, King is Dead, with its riveting lyrics, gorgeous strings and harmonies (and Dan's gentle, moving leads), it has moments of brilliance.

Interestingly, Pete Agnew takes over vocals on I Had a Dream, and does well by it, his singing is appropriately smooth and mournful.

Exercises (July 1972)

Tracks: I Will Not Be Led / Cat’s Eye, Apple Pie / In My Time / Woke Up This Morning / Called Her Name / Fool About You / Love, Now You’re Gone / Madelaine / Sad Song / 1692 (Glencoe Massacre)

This one has not been well received mostly because it’s not hard rock, it’s more a bluesy, folky collection. But I've always liked it, maybe because I’m a folky myself and really enjoyed the acoustic and orchestral sounds. I dig this swampy version of "Woke Up This Morning" near as much as the rocking version on Razamanaz, and "Called Her Name" is a groovy, yearning winner. 

I see where "Madeline" has been compared, negatively, to a Badfinger ballad, yeah, so what, it's a pretty number, with a sweet 12-string guitar - it's another ace track to my ears. 

Note: Pre-Queen, Roy Thomas Baker was the producer.

Razamanaz (May 1973)

Tracks: Razamanaz / Alcatraz / Vigilante Man / Woke Up This Morning / Night Woman / Bad, Bad Boy / Sold My Soul / Too Bad, Too Sad / Broken Down Angel

While I’ll always defend Exercises, Razamanaz takes the band to whole other level and establishes their signature sound. It consistently rocks, but with a taste of the country or folk stylings they're drawn too. They cover Woody Guthrie’s “Vigilante Man”, for example, but give it a stomping, bluesy flavor. 

Each musician is at their peak powers - focus on an individual instrument and be gobsmacked. The thumping backbone provided by Sweet and Agnew creates a formidable foundation, Charlton's skill with phrasing and motif... yeah, his licks scream, but he's as brilliant at making that guitar speak, it's a voice as strong as Dan's, both soulful, expressive and pulse pounding. 

Many fans consider it their greatest LP, and at least production wise, it might be my favorite - it has a real muscular, low-end sound, with the kind of heavy bass and drums presence I dig.

 

Loud 'n' Proud (November 1973)

Tracks: Go Down Fighting / Not Faking It / Turn on Your Receiver / Teenage Nervous Breakdown / Freewheeler / This Flight Tonight / Child in the Sun / The Ballad of Hollis Brown

The Scottish rockers 2nd release in 1973 is an outstanding follow up to the previous album, and from the first to the last, you'll not find a weak track in the lot. LnP can really sizzle, though my favorites on it are more melodic and hookier. “Turn on Your Receiver” is a countrified toe tapping rocker, while “Child of the Sun” opens with some pretty harmonies and features some slick guitar work.

And the covers are a delight, Little Feats “Teenage Nervous Breakdown”, and Joni Mitchel’s “This Flight Tonight”, which became a hit for them.  The record closes with a blistering take on Dylan’s “The Ballad of Hollis Brown” - The band drenches it in feedback and fuzz, which transforms the tune into a 9-minute nightmare. (posted above).

Rampant (April 1974)

Tracks: Silver Dollar Forger (Parts 1 & 2) / Glad When You’re Gone / Loved and Lost / Shanghai’d in Shanghai / Jet Lag / Light My Way / Sunshine / Shapes of Things - Space Safari

The 3rd and final album produced by Deep Purple's Roger Glover, and though it’s not quite up to the level of "Razamanaz" or "Loud ‘n’ Proud" or the God-Tier album that came after, "Hair of the Dog", you still have plenty of head boppin' boogie blues rockers to enjoy - plus there's Dan's raspy howl and Manny's fluid guitar work to hold you, and keyboards are brought into the mix nicely. My favorite tracks? I like the spacy purr of Light My Way, which takes us to the smooth acoustics that open the catchy Sunshine. 

This is one of those records that I've come to enjoy more over the years, I've even come around on their raucous Yardbirds cover that closes the second side.

Hair of the Dog (April 1975)

Tracks: Hair of the Dog / Miss Misery / Love Hurts / Changin’ Times / Beggar’s Day / Rose in the Heather / Whiskey Drinkin’ Woman / Please Don’t Judas Me

Or as it might have been titled Heir of the Dog… as they weren’t allowed to call it “Son of a Bitch”.

Revisiting it, and boy, chills went down my spine, there’s a reason this tops many Nazareth favorite album lists. That first side is sublime, opening with the title track (one of the all-time great driving songs with a killer guitar riff and plenty of cowbell) and following that with the crunchy, bluesy “Miss Misery”.

Mine is the US version with “Love Hurts” rather than “Guilty” (a Randy Newman cover) and I couldn’t imagine this LP without that power ballad - the track has so much heart and soul, I love how Dan’s voice strains and tears through it… which adds such an emotional punch. The A side closes with “Changing Times”, which reviewer Donald A. Guarisco calls “a throbbing hard rock tune driven by a hypnotic, circular-sounding guitar riff.”

Just when you think it couldn’t get any better, the flip side opens with the rocking/spacy twin offering Beggars Day (a cover of the Crazy Horse song) and Rose in the Heather.

For me, it loses a tiny bit of steam with “Whiskey Drinking Woman”, but it rebounds with the synth laced closer, a 9-minute opus titled “Please Don’t Judas Me”, which is a mournful funereal march that sees the band indulging their experimental side.

Guitarist Manny Charlton took on the role of producer from Roger Glover and he starts with a bang. You can’t ask for a better production debut than “Hair of the Dog” - it’s simply one of the greats, Nazareth or otherwise.

Close Enough for Rock 'n' Roll (March 1976) 

Tracks: Telegram / Vicki / Homesick Again / Vancouver Shakedown / Born Under the Wrong Sign / Loretta / Carry Out Feelings / Lift the Lid / You’re the Violin

It opens decently, with the ambitious Telegram and the poppy blues ballad, Homesick Again, but after that… 

There's some good play here from the band, and Dan's in fine voice, but it's missing a certain spark - songs that are almost there... but not quite. It has its fans, but I can't number myself among them.  It’s simply not as focused and memorable as the previous masterpiece or those that will come after.  

Play ‘n’ the Game (November 1976)

Tracks: Somebody to Roll / Down Home Girl / Flying / Waiting for the Man / Born to Love / I Want to Do Everything for You / I Don’t Want to Go on Without You / Wild Honey / L.A. Girls

Instrumental hooks a plenty - from Manny's repeated riff on the first track to Agnew's steady strutting bass line in Waiting for the Man (which is accompanied by a slide guitar that adds a creepy, cool vibe). The chugging, constant rhythms and ear catching musicianship are the albums strength; it's weakness?  Frankly, it sinks at the end with lumbering covers of the Drifters and Beach Boys. While L.A. Girl injects a little adrenaline into the LP, it's a minor effort. In total, Play 'n' the Game's a decent offering that fades at the point when it desperately needed a singular knockout track (like Hair of the Dog), or a breathtaking epic (on par with Hollis Brown), the type that would have rocketed it towards the stratosphere. That said, "Somebody to Roll" and "Waiting for the Man" are -al bacio-

So, while 1976 proved to be hit 'n' miss for me, the guys will find the heat the following year.

Expect No Mercy (November 1977)

Tracks: Expect No Mercy / Gone Dead Train / Shot Me Down / Revenge Is Sweet / Gimme What’s Mine / Kentucky Fried Blues / New York Broken Toy / Busted / Place in Your Heart / All the King’s Horses

Expect No Mercy cooks, and it’s the shot in arm I needed from these guys - Charlton’s killer licks, accompanied by frantic rhythms, bass and drums, and Dan using all his snarling vocal powers to great effect gets the album off to a thunderous start. There are catchy rock ballads too, like “Shot Me Down”, which appeals to the hook loving Beatles fan in me. And they haven’t abandoned their love of country, as heard in their bluesy cover of Harlan Howard’s “Busted”. And you get a taste of both in the poppy, western flavored “Place in Your Heart”. (Really, it sounds like the kind of song John and Paul would have written for Ringo, if Ringo had Dan’s range).

At 36 minutes total, with only 1 track exceeding the 4-minute mark, the album is lean and to the point, in gets in, kicks your butt and leaves you wanting more. Listening to this brought back a lot of happy memories.

No Mean City (January 1979)

Tracks: Just to Get into It / May the Sunshine / Simple Solution (Parts 1 & 2) / Star / Claim to Fame / Whatever You Want Babe / What’s in It for Me / No Mean City (Parts 1 & 2)

Nazareth closes the 70s with a bang. And a new member is added to the core lineup, guitarist Zal Cleminson. So yeah, this is guitar heavy rock that continues what the previous one started, you even get another metal -see what I had painted on the side of my van- style cover. 

Along with the dirty, driving blues (Claim to Fame and What's in It for Me - are two that find a groove and repeat it like a mantra), they also serve up a plate of snappy pop (Whatever You Want Babe) and include a mid-tempo power ballad that shines brightest of all (“Star” - a personal favorite). 

City's popular among critics and fans -one of the perennial Top Fivers- and though I don't rank it as high as Mercy, I agree that it was another jewel in the band's crown. 

Malice in Wonderland (February 1980)

Tracks: Holiday / Showdown at the Border / Talkin’ to One of the Boys / Heart’s Grown Cold / Fast Cars / Big Boy / Talkin’ About Love / Fallen Angel / Ship of Dreams / Turning a New Leaf

Malice is pure AOR, not since Exercises have they strayed this far from their grinding, crunchier sound.

I loved this album when it was released, I listened to it a lot, and the video for Holiday was a welcome mainstay on MTV - Of the music that defined 1980 for me, Nazareth was joined by Queen (The Game), Pat Benatar (Crime of Passion), Devo (Freedom of Choice) and bittersweetly, John Lennon’s LP return after a 5-year break (tragically marked by his murder 3 weeks later).

But how does it hold up? Pretty well, though admittedly after listening to Expect No Mercy and No Mean City it’s jarring to jump from those into this. It can sound overproduced, and plastic in spots (Talkin About Love), but it’s grand ear candy, with nice harmonies, and at least one classic power ballad (Hearts Grown Cold… though Fallen Angel is pretty darned good too). It might not be traditional Nazareth, but in terms of craft, of songwriting, arrangement and instrumentation it’s one of their finest.

It also boasts my favorite Nazareth cover - designed by Amy Nagasawa, the mannequins lend it a strange, otherworldly quality, and it captures a story we’re not privy too, where a blazing fire interrupts an outdoor party… the who, what, and whys swim in my head when I stare at that beaut?

The Fool Circle (February 1981)

Tracks: Dressed to Kill / Another Year / Moonlight Eyes / Pop the Silo / Let Me Be Your Leader / We Are the People / Every Young Man’s Dream / Little Part of You / Cocaine (Live) / Victoria

The Fool Circle was the last Nazareth album I ever bought, and I don’t have any strong memories of it, other than that weird cover. Critic Dave Marsh hated it, and it doesn’t seem to rank high among fans. Revisiting it, there are some good tracks, I like the poppy “Little Part of You”, by Manny Charlton, and some of the reggae sounds thrown in there are cool (it was recorded in George Martin’s studio on the island of Montserrat and bassist Pete Agnew feels that setting might have contributed to that). It’s a political album, and a rather minor effort from the band… but not a train wreck. It wouldn’t make my top 10, 

But for those that do...

#1. Hair of the Dog

#2. Loud ‘n’ Proud

#3. Expect No Mercy

#4. Razamanaz 

#5. Malice in Wonderland

#6. No Mean City 

#7. Rampant

#8. Exercises 

#9. Nazareth 

#10. Play 'n' the Game

Here’s another man’s opinion.

I love how it’s vinyl he’s displaying - not that I have anything against CDs, I have a lot of CDs, but with Nazareth I still only have my original records. I love the packaging of these things, the large size looks so nice what with the art, and with Naz vinyl just feels right, they should be on vinyl (though again, not a hater of other formats, in fact there’s probably some remasters that make them sound all the better).

And that’s the end of my journey - lets close with a last look at the founding four. 

Darrell Sweet (May 16, 1947 - April 30, 1999) * Manny Charlton (July 25, 1941 - July 5, 1922) 

Dan McCafferty (Oct 14, 1946 - Nov 8, 1922) * Pete Agnew (Sept 14, 1946 - Present)

Backstage Pass: Melanie from '68 to '79

Melanie Safka - February 3, 1947 - January 23, 2024

I was heartbroken by the news of Melanie's passing and have been listening to my old records and sinking into happy memories. I heard her a lot on that old transistor radio I had as a kid in the 70s and while this blog is dedicated to Alice Cooper, I thought I'd post a few words on other artists I like, maybe in the form of a list, maybe a few thoughts on the LPs I own, just to get them out of mind and on paper (so to speak).

Melanie's big break came at 1 AM, on a rainy night at Woodstock when the band who was supposed to play, refused to do so due to the weather. So she went on their stead, the audience raised candles (which inspired one of her greatest hits) and history was made. While I've checked out other releases on Spotify, I'm going to write about the studio albums I own from the late 60s through the 70s.

All songs written by Melanie, except where indicated

Born to Be (November 1968)

Tracks: In The Hour / I'm Back in Town / Bobo's Party / Mr. Tambourine Man (Dylan) / Momma Momma / I Really Loved Harold / Animal Crackers / Cristopher Robin (Is Saying His Prayer) (A.A. Milne w/Safka) / Close to It All / Merry Christmas 

Looking at old reviews, and yeah, I guess in 1968 it would sound as if Melanie was searching for a musical identity, swinging from tunes like Momma, Momma (with heavy lines like, "Sometimes I feel my life has come and gone - I live in this world, but I'm only looking on") to her goofing-around-singing on Animal Crackers - but in 2024, we know that this was her musical personality, the playful and the introspective, the childlike and the thoughtfully sober. It's what made Melanie, Melanie, it's what made her special. I think this is a fantastic debut - the first song impresses right off the bat, and its steady right down the line. Bobo's Party, Momma, Momma and I Really Loved Harold are the musical/lyrical highlights for me. And I find Christopher Robin sweet and charming. Merry Christmas is the closest thing to a skipper but for the most part, "Born to Be" is a winner.

Melanie (October 1969)

Tracks: I'm Back in Town / Tuning My Guitar / Soul Sister Annie (Kaye) / Any Guy / Uptown Down, Again / Beautiful People / Johnny Boy / Baby Guitar / Deep Down Low / For My Father / Take Me Home

As good as the first is, the second is even better, folky but soulful, a near perfect collection, my only complaints, some of the fade outs are too abrupt, and in spots, she’s not as disciplined vocally as she’ll become (for example, she’s just yelling by the end of Tuning my Guitar... which is nevertheless, one the albums best). Favorite track? Baby Guitar, anyone who thinks of her as this frivolous childlike hippy, should listen to this darkly surreal piece with its haunting instrumentation and evocative vocals... according to something I read at Songfacts, she didn't enjoy performing this "freaky" number very often, but she made an exception for an appearance on the Johnny Cash Show.

Candles in the Rain (April 1970)

Tracks: Candles in the Rain / Lay Down (Candles in the Rain) (accompanied by the Edwin Hawkins Singers) / Carolina in My Mind (Taylor) / Citiest People / What Have They Done to My Song Ma / Alexander Beetle (Safka, A.A. Milne) / The Good Guys / Lovin' Baby Girl / Ruby Tuesday (Jagger, Richards) / Leftover Wine

A game changer, a real breakout, her first gold album, with a top 10 hit (Lay Down) and fan favorite and radio mainstay, Look What They’ve Done to my Song, Ma. She's showing a lot of growth and maturity as an artist and singer... and yes, Melanie always had an expressive voice and great range, but it's in full bloom on this, one of my favorite releases from her - I even like Alexander Beetle, which is a sweet counter to the more painful pieces that address the difficult sides of the music industry, or her empathetic look at the damage city living can have on a soul (the lovely ballad, Citiest People). 

With its children's poems, hopeful anthems and looks at human nature (The Good Guys) - from the fantastic guitar picking and energetic strums of Lovin' Baby Girl to the vulnerability in Leftover Wine, "Candles" is a knockout. Last but not least, Lay Down is simply phenomenal, sweeping, inspiring, a singular listening experience. 

The Good Book (January 1971)

Tracks: Good Book / Babe Rainbow / Sign on the Window (Dylan) / The Saddest Thing / Nickel Song / Isn't It a Pity / My Father (Collins) / Chords of Fame (Ochs) / You Can Go Fishin' / Birthday of the Sun / The Prize / Babe Rainbow (Reprise)

I used to consider this a step below the first 3, but revisiting it, it’s aged amazingly well, this is as good as anything she's done - looking over its wiki page, Cashbox considered it her best recording to that point, praising the maturity, vision and craft of the songwriting, arrangement and production, and they're not wrong, though Candles is still my #1. There are some nice covers (Dylan, Phil Ochs and especially the beautiful rendition of Judy Collins My Father) and some nice guitar work, Hugh McCracken plays the classical, Vinnie Bell on electric, Melanie herself plays a nylon guitar and banjo. The Saddest Thing is my favorite track for the plaintive melody and vocals. Nickle Song gave her a modest hit, ranking 35th on the Billboard Hot 100, 25th on Cashbox, I like the razor-sharp lyrics that once again speak to the business of music and fan expectations.

Gather Me (October 1971)

Tracks: Little Bit of Me / Some Day I'll Be a Farmer / Steppin' / Brand New Key / Ring Around the Moon / Ring the Living Bell / Railroad / Kansas / Some Say (I Got Devil) / Center of the Circle / What Wondrous Love (Arranged and adapted by Melanie) / Baby Day / Tell Me Why (Edwards, Parish, Spaeth)

A new career path, making music for her own label - and right out of the gate she has her biggest selling LP, with her only #1 single, Brand New Key, which was a doubled edge sword as that’s the song everyone knows, but it seems to overshadow every other accomplishment, to the point where she’s sometimes thought of as a 1 hit wonder. It’s a sweet little novelty, I do like the number, bought the single when it was released and played it over and over (it was even used that way in an inspired, dark, Kids in the Hall sketch), but there are other treasures on the record that display some lofty and varied songwriting, with the mournful ones my favorites - Little Bit of Me, Railroad (the section where she sings "Write it down now" in that small, fragile voice, coupled to sad/pretty music/instruments, simply takes my breath way) and Some Say (I Got Devil), is, wow, powerful - that one lingers long after it's over. The hippy folkster is represented in Baby Day, the soulful seeker of truth in the gospel-like, Living Bell - so all facets of Melanie are found in this gem of a record.  

Garden in the City (November 1971)

Tracks: Garden in the City / Love in My Mind / We Don't Know Where We're Going (De Vorzon & Botkin Jr.) / Lay Lady Lay (Dylan) / Jigsaw Puzzle (Jagger & Richards) / Don't You Wait by The Water / Stop! I Don't Wanna Hear It Anymore (De Vorzon & Botkin Jr.) / Somebody Loves Me (MacDonald, DeSylva, Gershwin) / People in the Front Row

The infamous scratch and sniff record. See that little yellow oval on the bottom of the cover? It reads… “Rub gently to release the magic of Melanie’s Garden.”, which is hilarious.

Melanie's discography can be rather confusing - LPs were retitled and repackaged (in the 90s and up, there were a lot of re-recordings), and you had her old company (Buddha) releasing compilations and unreleased tracks sold as new, when they weren’t, nor were they approved by the artist. Garden, then, is a mélange of older tunes, with a few songs from a movie soundtrack (R.P.M.) tossed in to fill it out (it only runs 28 min). It’s why it doesn’t have a unified sound - despite this, its listenable material, there’s some good music here, like the pretty, acoustical Love in My Mind, and the groovy People in the Front Row.

Another they released in 1971 was Please Love Me 

This one also includes the 2 songs from the R.P.M. soundtrack, as well as the 7 she did for the 1970 movie “All the Right Noises” - there's a couple dibs and dabs (an early single from 1968, “God’s Only Daughter”, and a different version of “In the Hour” from her debut). While she wasn’t fond of doing movie work, the music is pleasant, especially the pretty, Pebbles in the Sand.

Tracks: Please Love Me (All the Right Noises) / In the Hour (ATRN) / Getting Out (ATRN) / Momma, Momma / Save The Night (ATRN) / Please Love Me (Instrumental) / Ears to The Ground (ATRN) / We Don't Know Where We're Going (R.P.M.) / Pebbles in The Sand (ATRN) / Stop! I Don't Wanna Hear It Anymore (R.P.M.) / God's Only Daughter (1968 single)

Stoneground Words (October 1972)

Tracks: Together Alone / Between the Road Signs / Summer Weaving / My Rainbow Race (Seeger) / Do You Believe? / I Am Not a Poet (Night Song) / Stoneground Words / Song of the South, based on a Theme from Song of the North, adapted from the original / Maybe I Was (A Golf Ball) / Here I Am / Bonus Songs: Bitter Bad / Seeds

This was planned as an ambitious double album, that sadly was cut down to a single, but -silver linings- it's a hell of a single. It, and the following album, were an attempt to pull away from the commercialism of Brand New Key and shoot for a more serious mood and sound, and that's established from the opening track (the terrific Together Alone). That's not to say there aren't radio friendly hooks, the chorus to Do You Believe traveled with me through the day after hearing it just once. You also get a song titled Maybe I Was (A Golf Ball), and that'll put a grin on your face (though the tune itself is more solemn than you'd expect).

I really admire the musical arrangement on the album, the way the keys, strings, acoustic guitars, etc., with backing vocals, move in and out and around one another. So much to delight the ear, so many pieces to focus on and enjoy.

The last 2 numbers are unique to the 2015 CD (Seeds was a non-album single released in 1973), and while the upbeat Bitter Bad is a bit out of synch with what came before, I really dig this funky, twangy thing (and she says "Y'all", ha, took me back to my Nashville days). So yeah, Stoneground is another goodie, and its sister album...?

Madrugada (March 1974)

CD Tracks: Love to Lose Again / Lover's Cross (Croce) / Pretty Boy Floyd (Guthrie) / Wild Horses (Jagger, Richards) / I Think It's Going to Rain Today (Newman) / Will You Love Me Tomorrow (Goffin, King) / Maybe Not for a Lifetime / Holding Out / The Actress / Pine and Feather / I Am Being Guided

The U.K. version had 'Will You Love Me Tomorrow', instead of 'I Am Being Guided'. The CD includes both.

Melanie decided to take a break to be with her newborn daughter; during this time her husband collected the remaining tunes from the Stoneground sessions and released them under the title, Madrugada (a Portuguese word meaning between midnight and dawn, according to the liner notes)

Considering the circumstances, the similarities with Stoneground aren't surprising. This too has a toned down, earnest vibe. It does leans heavy on the covers, but most of those matches well with the others.

I should point out that I prefer the original US LP order, Pine and Feather works better as a closer, and while she does good work on WYLMT, it doesn't really fit.

This is, yet again, an astonishingly good album, it's a wonder how she's maintained this excellence early on, it's a wonder she's not universally praised for it. Hell of a run, and it's not over yet.

Before she died, Melanie worked on restoring Stoneground to what she envisioned it to be, a double album, with a different track order. The results of these efforts were released in May 2024. I'm so used to the originals that I admit to having struggled with this order, the songs are great of course, but disc 1 just didn't jell (I prefer Together Alone as an album opener, Wild Horses doesn't fit at track 3). The blend is better on the second disc, where Pretty Boy Floyd gets that side off to a rousing start.

Disc 1 - Here I Am / My Rainbow Race / Wild Horses / Summer Weaving / Between the Road Signs / Together Alone / Maybe Not for A Lifetime / I Am Being Guided / I Think It’s Going to Rain Today / Maybe I Was A (Golf Ball) / The Actress  

Disc 2 - Pretty Boy Floyd / Lovers Cross / Song of the South / I Am Not a Poet / Pine and a Feather / Stoneground Words / Do You Believe / Holding Out / Love to Lose Again / Here I Am (solo acoustic)

As I See It Now (December 1974)

Tracks: Yankee Man / You're Not a Bad Ghost, Just an Old Song / Record Machine / Eyes of Man / Stars Up There / Don't Think Twice, It's All Right (Dylan) / Sweet Misery / Monongahela River / Yes Sir, That's My Baby (Kahn/Donaldson) / Autumn Lady / Chart Song / As I See it Now

It sets the tone by opening with a country song and then continues along those lines with twangy guitars and twangy singing - a couple of detours are heard on the way - the chorus of the Eyes of Man makes me think of the Caribbean, and Chart Song is one of her moving ballads. The album has its familiar qualities - she returns to Dylan with a slowed down take on Don't Think Twice; and writes about the music industry and the frustrations of the artist (Record Machine and Chart Song).

The contrasts can be interesting, Sweet Misery isn't a misery, and is rather fun, it's the following track, Monongahela River, where you find the lyrical gloom ("Some kill themselves living - Others get killed for trying"), but these two sides of Melanie are ace. 

All told, there are highs (Yankee Man, Chart Song), and lows (Yes Sir...), but when you add it all up, it's another notch on her belt.

Note: As I See It Now used new songs, with several tracks from the abandoned Autumn Lady project (1973) - which was released posthumously in 2024. Of the two LPs, I prefer AISIN- though it's great to get to hear tunes that were new to me.

Track listing for 2024s Autumn Lady (CD)

Disc 1: Hearing the News / Seeds / Don’t Think Twice, It’s All Right / The Other Side of This Life / Will you Love Me Tomorrow? / Bitter Bad / Ooh Child / Record Machine / Autumn Lady / Shy as a Violet / It’s Me Again / Any Day Now (home demo) / As Long as I Get There (home demo) / So, I Don’t Feel Alone (Home demo) 

Disc 2: Hearing the News (Here’s the Farmer - 27 Minute version) / Record Machine / Mary Was an Only Child / Shy as a Violet (alt version) / Stars Up There / Yankee Man / Eyes of Man / As I See It Now / Yes Sir, That’s My Baby / Sweet Misery / Monongahela River / You’re Not a Bad Ghost, Just an Old Song / Desert Song (feat Mike Heron)

Sunset and Other Beginnings (October 1975)

International Tracks: Perceive It / Almost Like Being in Love (Lerner, Lowe) / Loving My Children / You Can't Hurry Love/Mama Said (Holland, Dozier, Holland / Dixon & Denson) / People Are Just Getting Ready / Ol' Man River (Kern, Hammerstein) / I've Got My Mojo Working (Foster) / Where's the Band / Dream Seller (Meet Me On The Corner) (Clements) / What Do I Keep (Lipsitz, Devorine) / Sandman / The Sun And The Moon / Afraid Of The Dark

US Tracks: Perceive It / I've Got My Mojo Working / Loving My Children / Almost Like Being in Love / What Do I Keep / Afraid of the Dark / Where's The Band / You Can't Hurry Love/Mama Said / Sandman / People Are Just Getting Ready / Dream Seller (Meet Me on The Corner) / The Sun and The Moon

Aside from Perceive It (which reminds me of Cat Stevens) this is the first time I was flat out disappointed in a Melanie record. The songwriting and production, the covers, it all leaves me cold. There are two different versions of the record, the US release eliminates Ol' Man River (no loss) and rearranges the order (a shade better, but still...) Not a lot to say about this record, so I'll just move on to the next.

Photograph (1976)

Tracks: Cyclone / If I Needed You / The Letter (Carson Thompson) / Groundhog Day / Nickel Song - Music! Music! Music!" (Weiss & Baum) / Photograph / I'm So Blue / Secret of the Darkness (I Believe) / Save Me / Raindance / Friends and Company

2005 bonus material from "Double Exposure" reissue: Groundhog Day (10-min version) / Cyclone (alt version) / Secret of the Darkness Pt. 1 / Secret of the Darkness Pt. 2 / Unfinished Business (Selma Version) / Whamp Bhomp Song / Ruby Tuesday (Jagger, Richards) / Love to Live Again / Here We Go Again / Jukebox Magazine / Miranda (Ochs) / Unfinished Business (West Version) / Remember Me Good / Over the Rainbow (Arlen & Harburg)

An album that Atlantic pulled and refused to re-release (Someone pissed off somebody - thankfully, Rhino fought and fought and got the rights to distribute it, nearly 30 years later). The record came highly praised, but I wasn't sure, the first track was so slick, and those synths? But damned if it didn't get under my skin, and I was quickly won over by it and the following power ballad (If I Needed You). Unfortunately, the CD briefly lost momentum - The Letter is a skipper, and I didn't really need this new version of Nickle Song, I even reached a point where I put those two and Groundhog Day to the side and replaced them with the country, blues flavored Remember Me Good and the 10-minute version of Groundhog Day, which is extraordinary - at times gentle, then a real pulse pounder (love the drums). 

Other notables, the pretty guitar work (Save Me), the world-weary, emotion filled vocals (several) and Raindance sees her belting it out impressively. 

Bonus material was mostly fair (aside from the 2 jewels mentioned above), but I'm happy to have 'em.

Phonogenic – Not Just Another Pretty Face (March 1978)

Tracks: Knock On Wood (Floyd, Cropper) / Bon Apetite / Spunky / Runnin' After Love / We Can Work It Out (Lennon, McCartney) / I'd Rather Leave While I'm In Love (Sager, Allen) / Let It Be Me (Becaud, Curtis) / Yankee Man (Winchester) / Record People / California Dreamin' (Phillips, Phillips)

And it's back to blah. Middle of the road, soft rock blandness, with too many weak covers and Melanie just not sounding like her hearts in it. Record People is about the only thing I can muster any enthusiasm for.

The Lost 1979 Album, aka Crazy Lady

Tracks: Another Line (Crazy Lady) / Roadburn / Taking a Bath / Consider It Something Good / The Champagne Song / I Wish I Was Inspired / Wear It Like a Flag / Lifeline / Leftover Emotion / Yes, My Darling Daughter / Lay Down Sally * Bonus tracks: There's a Reason / Can't Help Falling in Love / I Wish I Was Inspired (Alt Version) / Consider It Something Good (Alt Version) / Lifeline / Lifeline (Version 2) / Lifeline (Version 3)

The legendary lost album, which, according to the Cleopatra website was recorded at various studios in the late '70s while Melanie searched for a new label. In Dave Thompson's book, Melanie on Record, the singer suggested that these were never intended for an album, per se. The Champaign Song was later included in the planned Ace of Diamonds musical. Lay Down Sally, and versions of Roadburn, Wear it Like a Flag and Taking a Bath would find their way onto releases in the next decade or so - while nice to hear these tunes, it's a so/so collection.

Live Albums From this Period?

Leftover Wine (September 1970) / Melanie at Carnegie Hall (October 1973) / Ballroom Streets (January 1979 - recorded live in the studio, with a small audience) / (Also, In Concert – Live at Montreux, 1973 - a Germany and Yugoslavia-only release)

There were also several compilation albums, the most ambitious was The Four Sides of Melanie (1972), in which each side covered a different aspect of her career at that point. Side A was the formative years, Side B, the commercial (which included a 7 min version of Lay Down), Side C, the cover songs, with Side D emphasizing her imaginative, empathetic qualities. (track list here) 

The colorful covers could be folded into a cube and hung as a mobile. 

The 80s? I've sampled a few and might dig deeper into those and others at a later date. But for now, that's it. 

Rest in peace Melanie, you gifted the world a lot of beautiful music and made my life a little better and brighter.

Part II - Melanie: 1980-1993

Discography: Part 6 - Nostalgia

Welcome 2 My Nightmare

Release Date: September 13, 2011

Highest US Chart: #22

Tracks: I Am Made of You * Caffeine * The Nightmare Returns * A Runaway Train * The Last Man on Earth * The Congregation * I'll Bite Your Face Off * Disco Bloodbath Boogie Fever * Ghouls Gone Wild * Something to Remember Me By * When Hell Comes Home * What Baby Wants * I Gotta Get Outta Here * The Underture (Instrumental)

Flush off being named to the Rock and Roll HOF, Alice released a sequel to one of his classics. As with the original, “Welcome 2” follows the character Steven as he goes from dream to dream. The CD also sees Coop reunited with producer Bob Ezrin, and his former bandmates (on 3 numbers). 

"I Am Made of You" leads off the nightmare, with Alice playing around with auto-tune, and I was okay with that - it sounds good and adds a haunting, disjointed vibe to the song. Bottom line, it’s a great number, one of Alice’s best. Also - the piece opens with a piano riff borrowed from "Steven" (which will return in other tracks and is the binding thread to the first LP).

From here Bob and AC record a wide variety of styles and sounds, and as with recent AC releases, he draws from other artists. There’s a tune that has some Beatles, another that’s pure Tom Waits (the ear catching “Last Man on Earth”), you can hear the Stones "Brown Sugar" and a little of Michael Jackson’s "Beat It" sprinkled throughout. Somehow though, all this theft - or homages? - work.

Original bandmates, Michael Bruce, Dennis Dunaway and Neal Smith play on the crunchier numbers ("A Runaway Train", "I'll Bite Your Face Off" and "When Hell Comes Home") and prove they can rock as hard as they did in the 70s. Most notable for me, is When Hell Comes Home. This is a grinding, bluesy tune about an abusive husband and father – the lyrics are as dark as anything AC has done, and the lead guitar echoes one of the bands classics, "Dead Babies".

Cooper the clown also shows up in Disco Boogie Bloodbath Fever. Believe it or not, Alice raps - it’s a funny track – unfortunately he goes to this well once too often and follows up this novelty with another, a 50’s parody, "Ghouls Gone Wild". It’s not a horrible tune, but it is the weakest of the bunch. After this we get the ballad (had to have a ballad, didn't we?) but this one is special as it was co-written with Dick Wagner back in the 70s, and while Something to Remember Me By, is no "Only Women Bleed", it’s pleasant enough and does kindle the nostalgic glow I'm getting from this CD.

The album bursts back to life with 3 strong numbers, and a closing melody (The Underture). Among these 4, there is the (apparently) strange paring of AC with Ke$ha on "What Baby Wants". This duet furrowed some brows; but being old and having no idea who Ke$ha was, I judged it on what I heard, which was wicked, rockin' fun - and K does a great job playing the devil's daughter.

Other guests on the album include Steve Hunter and Dick Wagner, who played on the original Welcome. And country artist Vince Gill, who can be heard on 2 numbers and shows that he’s a kick-ass rock lead guitarist!

All told, while it doesn't surpass the first Welcome, it's a worthy follow up - a most excellent and entertaining listen (it also served to restore my faith in Coop as a viable musical force, after the discouraging “Along Came a Spider” crushed that faith to a fine powder).

Note: The release came in several editions, with differing bonus tracks, including "A Bad Situation", "Flatline", a cover of "We Gotta Get Out of This Place", and my favorite of the bunch, "Under the Bed".

Purchases: Original CD release, iTunes

🐍🐍🐍🐍½

Paranormal

Release Date: July 28, 2017

Highest US Chart: #32 (Top 200) - #6 (Top Album Sales)

Tracks: Paranormal * Dead Flies * Fireball * Paranoiac Personality * Fallen in Love * Dynamite Road * Private Public Breakdown * Holy Water * Rats * The Sound of A * Bonus Tracks: Genuine American Girl * You and All of Your Friends

It opens with a memorable ghost story that gives us a taste of spooky 70s-style Alice, and continues with a collection of bleak, but sonic rock, infused with tales of apocalyptic disaster, loss of privacy, and other modern nightmares, like our addiction to technology that feeds us lie after lie (the wicked, blues flavored, "Dead Flies", with its Hendrix-like guitar-work from Henriksen and Denander) and poisons us with fear (the exceptional "Paranoiac Personality"). 

Coop balances that by retaining his sense of humor and injecting a certain playfulness (titles to past songs pepper the lyrics). And in "Holy Water", we get a hand raising, baptismal psalm that celebrates his faith and the transformative effect it had on his life, so yes, there are shafts of light and joy amidst the fire and brimstone.

Musical guests include Roger Glover (co-writer and bassist on "Paranormal"), ZZ Top's Billy Gibson, laying down a tasty riff on "Fallen in Love", and U2s Larry Mullen Jr. delivering his unique brand of drumming (recruited on Ezrin's suggestion [1], he absolutely kills on "Paranoiac Personality" & "Holy Water").

Among my favorites are the numbers written and/or performed with surviving members of the classic Alice Cooper group. As musicians, they tear it up on the bar-room rocker, "Rats", and contributing as songwriters as well as bandmates, their 2 bonus tracks are fun and catchy, especially the gender bending Genuine American Girl, which closes on a cool cascading baseline (a nod to the one heard on "Elected" perhaps?) 

Dunaway also co-wrote the scorching "Fireball", and a blast from the past from 1967, "The Sound of A". In interviews and podcasts, Dennis revealed that Alice wrote "A" at around the same time he came up with Shoe Salesman and Laughing at Me (using Neal's nylon string guitar). And that it would have been part of a futuristic concept album, about a sound that could control people's minds. Dennis still had the music, and the notes Cooper wrote about the idea, he then filled in what he thought would have been the intended lyrics and presented it to Bob and Alice - and what a welcome addition. The press release sums it up nicely... "With its psychedelic sound, swirling guitars and the mysterious Hammond organ, it is one of the most hypnotic songs on “Paranormal”". For sure, and it allows the disc to come full circle, opening with scary Alice and closing on 60s psychedelic Alice.

There's seriously not a bad song on this CD, I'm entertained and enthralled from the very first note, on through the bonus material, which includes 6 classic songs performed live in Columbus, Ohio. 

Note: In 2014 Billboard altered its charts - The Top 200 now incorporates streaming and an album-equivalent unit. They added a new "Top Album Sales Chart" to reflect physical sales (CD, Vinyl and Digital purchases). I'll be including both from here on out.

Purchases: Original CD release (with free MP3), iTunes

🐍🐍🐍🐍

Detroit Stories

Release Date: February 26, 2021

Highest US Chart: #47 (Top 200) - #1 (Top Album Sales)

Tracks: Rock and Roll * Go Man Go * Our Love Will Change the World * Social Debris * $1000 High Heel Shoes * Hail Mary * Detroit City 2021 * Drunk and in Love * Independence Dave * I Hate You * Wonderful World * Sister Anne * Hanging on by a Thread * Shut Up and Rock * East Side Story

I like the concept, which attempts to get Alice back to his roots by taking a nostalgic trip through his musical origins and Detroit rock history - via cover songs - by capturing that 'motor-city' aesthetic in all its glory (from proto-punk, to soul, and all points in between) - and by including artists, either as name drops or contributors; like the legendary Johnny "Bee" Badanjek, who smokes on drums, bassist Paul Randolph, and MC5 guitarist Wayne Kramer (co-writer of 2 goodies, "Go Man Go" and "$1000 High Heel Shoes", as well as the 'eh, "Independence Dave"). 

Of the covers, Outrageous Cherry's "Our Love Will Change the World" is a fave; it's upbeat, catchy pop, married to conflicting lyrics (sounding like a pessimistic downer, before shifting to the positive chorus, which actually comes off more a threat than an invitation to a love-in). AC and the band also do nice work on the MC5s "Sister Anne" (with Coop on harp) and Seger's "East Side Story".

Of the stand-out originals there's "Hail Mary" and "Wonderful World" (one that detours from Detroit, to make comment on civilization, Brutal Planet style). "I Hate You" is a curious attempt by the surviving, original trio to get some personal issues off their chests by insulting one another. I also liked "Social Debris" written with drummer Neal Smith, it's got that 70s 'bloody your nose' attitude and according to Alice was about the band being outsiders (though it's filtered through a modern lens).

Not everything works - "Hanging on by a Thread (Don't Give Up)" was written to raise morale during the pandemic, and while well intended, it's a little corny. Still, despite a hiccup or two (I have to be in the right mood for Drunk & Dave) the CD delivers the kind of blistering hook filled rock I crave. It's a ready, steady, energetic way to usher in Alice's 6th decade as a recording artist.

Note 1: The vocals on I Hate You go from Neal (to Dennis), Mike (to Neal), Dennis (to Alice), Alice (to Mike) - and on the last verse it's Dennis, Alice, Neal, then Mike and finally, all

Note 2: On September 13th, 2019, "Breadcrumbs", a 6 track EP was released. It included tunes that would find their way on this album (Detroit City, Go Man Go, East Side Story and Sister Ann), as well as a couple that didn't - a m'eh take on Devil with The Blue Dress On/Chains of Love and a nice cover of Suzi Quatro's Your Mama Won't Like Me.

Purchases: Original CD release (with free MP3).

🐍🐍🐍½ 

Road

Release Date: August 25, 2023

Highest US Chart: #160 (Top 200) - #11 (Top Album Sales)

Tracks: I'm Alice * Welcome to The Show * All Over the World * Dead Don't Dance * Go Away * White Line Frankenstein * Big Boots * Rules of The Road * The Big Goodbye * Road Rats Forever * Baby Please Don't Go * 100 More Miles * Magic Bus

A concept album about life on the road, recorded with his touring band (guitarists Nita Strauss, Ryan Roxie and Tommy Henriksen, bassist Chuck Garric and drummer Glen Sobel) and while they are a tight unit, they weren't really let off the chain and allowed to distinguish themselves from what we've heard in the past 2 releases (bummer then that the drum solo in the lackluster Magic Bus, detracts). The rhythm section provides a solid foundation, but the leads were standard fare - no riffs reach the levels of a "School's Out" or "Poison" (or "Fallen in Love" for that matter), the type that instantly leave an impression.

And alas, the songwriting can be problematic, with some iffy choruses and lyrics, the worst culprit being the cringy "Big Boots", which, along with "Rules of the Road", are the bad apples in this barrel.

The release does start off nicely; "I'm Alice" revels in his reputation as the father of shock; "Welcome to the Show" is a forceful rocker with fun backing vox. I was near to thinking this could be on par with Detroit Stories, when the wheels came off the bus - there was just, something off, like the chorus and content (about a stalker) on "Go Away", marring the tune in whole - and the downward slide worsens with 6, 7 & 8. (Frankenstein's chorus reminds me of "Cherry Pie", and cripes, I hate Warrant).

"The Big Goodbye", with its chugging guitars and catchy pre-chorus, gets the disc rolling again, and though it's never been a favorite, "Road Rats Forever" is better here than on L&W, if only because it's not so plastic 'n' overproduced. However, it wasn't until the end that I found 2 that made me euphoric. "Baby Please Don't Go" and "100 More Miles" display a musical maturity and aren't as corny word-wise. While "Miles" has a ghostly ambiance in its opening notes, there's a heaviness, an appropriate exhaustion in the vocals as at plays (though I wish it was a bit longer - that Alice & Bob had exploited that emotion and let the band cook). "Baby's" mid-tempo strumming supports lyrics that are heartfelt, refreshingly quip free, and felt like truth (akin to Kiss's "Beth", but as written by 60s-era Sonny Bono). Both were welcome palate cleansers to the excruciating idiocy of things like Boots and Rules.

The scorecard? There are 2 that I like, and 2 that I worship, with 3 that are fine but not amazeballs (3, 4 & 9). That leaves me 6 I'll skip (5, 6, 7, 8, 10 and 13), which turns my LP into a passable EP.

Note: In "Road Rats", a change in the lyrics includes a title-drop - "Love it to Death", it's just one of several nods to the past - In fact, a song from that one, "I'm 18", is also quoted ("like it, love it", in "All Over the World")

Note 2: One edition of the release includes the Blu-Ray, "Live at Hellfest 2022".

Purchases: iTunes

🐍🐍½

The Revenge of Alice Cooper

Release Date: July 25, 2025

Highest US Chart: #72 (Top 200) - #6 (Top Album Sales)

Tracks: Black Mamba * Wild Ones * Up All Night * Kill the Flies * One Night Stand * Blood on The Sun * Crap That Gets in the Way of Your Dreams * Famous Face * Money Screams * What A Syd * Inter Galactic Vagabond Blues * What Happened to You * I Ain’t Done Wrong * See You on the Other Side - Bonus Tracks: Return of the Spiders 2025 * Titanic Overunderture

Over a decade ago I had the thought, "Wouldn't it be nice to see Alice reach 30 studio releases?" I wasn't sure it would happen with those extended gaps between LPs (6 years from Temptation to Planet, for one), but lo and behold, it's here - and even sweeter it's a full-out original band reunion! So, how'd they do? Well, it can be a roller coaster ride, with a few formulaic downs, but with several that soar with the best of them.

Draped in sex and menace, "Mamba" casts Alice as serpent fatale, first accompanied by seductive bass and guitars, before exploding into slithering, percussive mode; it's a winner. "Wild Ones", which was written in the mid-80s, is the epitome of filler—as a single it left much to be desired, but folded among the others, it keeps the energy high. Regrettably we now head into a valley, where the priapic "Up All Night" resides. I like the low range rhythm guitars, but the lyrics embarrass, and structurally it's too generic to hold my interest. Thankfully, they follow that up with three that take us back to the top. Smith's sing-songy, psyche ward "Kill the Flies" (the glockenspiel, guitar as siren, and Neal's famous flams, are nice touches here) and Dunaway's unsettling "One Night Stand", which sports cool Bond-style chord progressions, musicianship that hits the spot, and vocals that are low, smooth, and creepy (the casual greeting to a neighbor, and the whistle adds to that). Last but not least is the exemplary "Blood on the Sun", Dennis' nod to those grand, sweeping epics of old. Opening with 6-string acoustic picking (doubled in the recording to mirror a 12-string chime), it's melodic, boasts superb harmonies - the drums (including timpani) bring added drama, and as a dedicated film buff I thoroughly enjoyed all the movie titles in the lyrics, from Hitchcock to John Wayne, and more.

Revenge takes a noticeable dip with the Kinks-like, "The Crap That Gets in the Way of Your Dreams", then rebounds with Bruce's lyrically scathing "Famous Face" (that deep toned snarl is an asset - though credited to Alice, it's actually Michael singing lead). And while "Money Screams" is a trip to average-ville, it's a catchy trip. From here we travel up the tracks with "What a Syd", a Cab Calloway meets Stray Cats mash-up. Its groovy jazz and rockabilly guitars, and the swinging bass/drum combo, would have fit snuggly next to "Blue Turk" on Schools Out. "Inter Galactic" is a foot stomping boogie that's fair at best but sees the welcome return of the harmonica. What Happened to You has muscle in its snarling guitars and lightning in that rousing piano - the distinct 'bite 'n' scratch' riff was Glen's, and the number was built around that, its origins are rooted in a jam with Dennis, that Buxton called "Astute Lobotomy". It's the most rollicking track on the record - had my blood pumping.

Finally, while not my favorites, the Yardbirds cover is appropriate (The Spiders opened for them in 1966) and well performed - and it's sweet that the reunion wraps up with a touching ballad dedicated to Glen.

Vocally, Cooper is pitchy in spots, but is still Alice, still the king with all that personality and presence. The backing is a plus, and sound decidedly like "this" band (dig the doo-wop on Flies). The players? Neal & Dennis, as expected, are out of this world; they remain one of rock's best drummer - bassist pairings. Rhythm guitarists are often unsung heroes, but don't sleep on Michael, he's in fine form. And while no one can replace Glen, he had a one in a million style, as his piece in WHTY can attest, Rick Tedesco and Gyasi Heus throw in some sweet licks and leads. The songwriter of merit is Dunaway, his name is attached to the album's finest (1, 5, 6, 10, and 12), and a decent one (2).

The bonus tracks are fascinating - I prefer the drum style on the original, but "Return of the Spiders 2025" has a lot of power, whatever studio magic they worked with that one, I'd like to see applied to a remix/remaster of Easy Action. "Titanic Overunderture" is even more interesting, as lyrics are added that give voice to the dying ocean liner. Grade?  Revenge might not change the world, but it's good, solid rock. There are a couple of skippers, and it could use a few noteworthy guitar riffs, but on the whole, it's an enjoyable addition to the Cooper collection. I'm glad to have it, glad to have the band back together again.

Note 1: The vinyl mix is preferred, it's not the compressed wall you get on CD, you can hear the details - the individual instruments pop on vinyl.

Note 2: A listening party with Q&A was held on Thursday, July 24, 2025, at Union Chapel, London. Shown worldwide as a livestream, it was ably hosted by Tim Rice and included the surviving members of the OG and producer Bob Ezrin (who proved to be an entertaining storyteller).

Note 3: At the SickthingsUK forum, Dennis pointed out a few errors in the liner notes (it was he, not Michael who co-wrote Black Mamba, for one). He also graciously answered questions about Blood on The Sun, which were used in my review. Dr. Dreary is ever a gentleman and a fount of information.

Purchases: Original CD release (standard, not the box set)

🐍🐍🐍½

Alice on the Screen: In 2012 Alice played the 1970s version of himself (with look-a-likes standing in for the band) in the comedy "Dark Shadows", where he performed a bit of Dwight Fry and No More Mr. Nice Guy. He was also in the no-budget Asylum flick, "Bigfoot", where he earned a few laughs, "What is this, a hootenanny!?"

And on April 1st, 2018, Coop took on the role of King Harod in NBC’s live televised adaptation of Jesus Christ Superstar.

In October 2021 Alice narrated his life story in a piece titled, Who I really Am: Diary of a Vampire on audible.com. Coop is a great storyteller, and for added coolness were several acoustic versions of classic AC tunes.

As for an original bandmate, Dennis released an amazing bit of rock cinema in 2019, with Cold, Cold Coffin - a crowdfunded short film co-starring Calico Cooper.

Next: Ranking the Albums from Top to Bottom