Sunday 24 June 2012

Rock of Ages: hair metal you never hear in the movies...


Now that everything 80s is in fashion again it was inevitable that hair metal would have renewed popularity; a bit disappointing though that it's the same tired old Guns 'n' Roses, Def Leppard & Bon Jovi songs. Especially when there were so many great albums released that failed to have much impact the first time round. Such as...

Easy Action - Easy Action (Tandon, 1983)




This Swedish glam band was influenced by 70s glam rock and Hanoi Rocks (look at the album cover) and featured singer Zinny Zan (later of Shotgun Messiah) and Kee Marcello, who would resurface a few years later in Europe. Pretty much every track is a perfect bubblegum glam masterpiece; so much so that Poison pinched the melody of ‘We Go Rocking’ for their own classic, ‘I Want Action’. There are two versions of this album; the original is the best as they re-recorded standout track ‘The End of the Line’ in a less good slow version for the rerelease.

The song that should be used on the soundtrack to some lame movie: All of them! (except maybe the somehow not-so-great opening track ‘Rocket Ride’)



D’Molls – Warped (Atlantic, 1990)


D’Molls were from Chicago and their self-titled debut of 1988 featured a couple of truly great hair metal anthems (notably ‘D’Stroll’ and ‘777’) alongside a lot of forgettable dross. Not so follow-up Warped, which despite being released at the tail end of the glam era is as sleazy and catchy as ever, but with a lot more heart.


The song that should be used on the soundtrack to some lame movie: several, including the great ‘My Life’ and ΓΌber-ballad ‘This Time It’s Love’





Faster Pussycat – Faster Pussycat  (Elektra, 1987)


If there was any justice in the world this album would be as well known as Appetite For Destruction – in many ways Faster Pussycat are similar to early G’n’R, but they have far more character and a kind of New York Dolls-ish soulful atmosphere which is admittedly less MTV-friendly than Axl and co, but Taime Downe is a far more likeable vocalist and whereas G’n’R always seemed destined for stadiums, Faster Pussycat are more suited to the sleazy dive; and they sound all the better for it.

The song that should be used on the soundtrack to some lame movie: take your pick – ‘Bathroom Wall’ or ‘Ship Rolls In’ would be as good as any.



Fastway – Treat or Treat OST (CBS,1986)


Fastway weren’t really a hair metal band; but (partly thanks to the movie it was written for) Trick or Treat is totally a hair metal album.

The song that should be used on the soundtrack to some lame movie: They already were, but ‘After Midnight’ is a towering AC/DC style classic.



Glorious Bankrobbers – Dynamite Sex Dose (Planet, 1989)


It’s surprising that Swedish glamsters Glorious Bankrobbers aren’t better known; their version of hair metal is tougher and more rock ‘n’ roll than many of their contemporaries; far more in tune with modern taste in fact, being somewhat similar to bands like Duff McKagan’s Loaded (albeit with catchier tunes).


The song that should be used on the soundtrack to some lame movie: ‘Hair Down’, despite some silly lyrics.



Hanoi Rocks – Two Steps From the Move (CBS, 1984)


Hanoi Rocks were arguably the architects of hair metal; but they mostly weren’t actually metal at all, as this classic pop/rock album proves.  1983’s Back To Mystery City is even less hard-edged but just as good.

The song that should be used on the soundtrack to some lame movie: ‘Don’t You Ever Leave Me’ – the perfect hair ballad, or on a more classic hair metal note, ‘High School’

Dogs D’Amour – In the Dynamite Jet Saloon (China, 1988)


On the whole, UK glam bands tended to imitate the style and sound of their US counterparts, but the micro-scene that included Dogs D’Amour and The Quireboys had an altogether rougher, more shambolic (not to say drunken) atmosphere. The music was scruffier too; less metal, more romantic, but on this classic sophomore release Dogs D’Amour managed to keep it all together and produce a set of classic, whisky-sodden rock anthems.

The song that should be used on the soundtrack to some lame movie: ‘How Come It Never Rains’ – simply a great, melancholy-yet-uplifting rock song.





Helter Skelter – Welcome to the World Of Helter Skelter (Noise, 1988)


SILLY but great, this album has more than its fair share of ultra-catchy, not very heavy songs and a misleadingly rock opening song. The cover art is almost like a kids TV version of the Pretty Boy Floyd album. The band did in fact have a silly furry mascot.

The song that should be used on the soundtrack to some lame movie: so many to choose from but today I’m saying ‘Innocent Girls’

  

Kingpin – Welcome to Bop City (CMM, 1988)


The best glam metal album ever? 100% glam and tacky and 100% metal, Kingpin was Zinny Zan’s follow-up to Easy Action. After the album flopped they relocated to the US, changed their name to Shotgun Messiah and re-recorded this album in a slightly inferior form. They still weren’t massively successful though.

The song that should be used on the soundtrack to some lame movie: ‘Don’t Care ‘Bout Nothin’ – but they are all appropriate!



Anthem – Gyspy Ways (King, 1988)


Japanese glam, less well known than Loudness or E-Z-O but probably a bit better than both.


The song that should be used on the soundtrack to some lame movie: ‘Midnight Sun’



Lion – Dangerous Attraction (Scotti Bros, 1987)


Strangely unknown album, full of great, classy hair metal, a tiny bit like Ratt, only marginally heavier.

The song that should be used on the soundtrack to some lame movie: ‘In the Name Of Love’





Madam X – We Reserve The Right (Jet, 1984)


Most famous as being the band where the Petrucci sisters (of Vixen) and Sebastian Bach (of Skid Row) started out, this album is essentially a hair metal cheese festival: great. Sadly, Sebastian was not in the lineup that recorded the album.

The song that should be used on the soundtrack to some lame movie: ‘We Want Rock’


 

Nasty Idols – Gigolos on Parole (HSM, 1989)


Slightly weak Swedish glam album is strong on attitude but not songs; there are a couple of great ones though.

The song that should be used on the soundtrack to some lame movie: Undoubtedly ‘Gimme What I Want’ – classic.



Phantom Blue – Phantom Blue (Shrapnel, 1989)


Quite heavy for a glam-ish album, this is simply excellent 80s metal made by ladies.

The song that should be used on the soundtrack to some lame movie: ‘Why Call It Love’



Pretty Boy Floyd – Leather Boyz with Electric Toyz (MCA, 1989)


One of the all-time great hair metal albums; look at the cover. Plus, every song is a sleazy, feelgood anthem. They were just too late to be huge but they should have been.


The song that should be used on the soundtrack to some lame movie: ALL OF THEM



Shout – In Your Face (Music For Nations, 1989)


CHRISTIAN hair metal; inherently ridiculous, but better than you'd think, kind of Whitesnake-ish, with lots of heartfelt, nearly-but-not-quite-preachy lyrics.

The song that should be used on the soundtrack to some lame movie: ‘Waiting’



Show & Tell – Overnight Sensation (Medusa, 1988)


Quite bad indie hair-metal but they WANT to be famous so badly that they can’t help being likeable. Plus they do have a couple of songs that survive the threadbare production values.

The song that should be used on the soundtrack to some lame movie: ‘Hairspray Blues’



Sleeze Beez – Screwed, Blued and Tattooed (Atlantic, 1990)



Very Americanised Dutch glam; and good stuff too, a bit like White Lion.

The song that should be used on the soundtrack to some lame movie: ‘Stranger Than Paradise’



Tigertailz – Young & Crazy (Music For Nations, 1987)


The ultimate UK hair metal band, despite their very MTV image there is a British tinge to their hair metal sound, kind of Duran Duran-meets-Motley Crue.


The song that should be used on the soundtrack to some lame movie: ‘She’z Too Hot’


Alien – Cosmic Fantasy (Ultranoise, 1984)

I don’t know much about Alien, but this is a very peculiar mini-album, a mix of classic hair metal and some spacey psychedelic bits – not great, but SOME of it is great.

The song that should be used on the soundtrack to some lame movie: ‘Don’t Say Goodbye’



Wrathchild (UK) – Stakk Attakk (Heavy metal records, 1985)


Complete trash with a 70s feel and some classic, basic anthems.

The song that should be used on the soundtrack to some lame movie: ‘Trash Queen’



Coney Hatch – Friction (Vertigo, 1985)


Maybe more ‘melodic hard rock’ than true hair metal, but utterly 80s and very good, this album has a plethora of catchy, atmospheric tunes.


The song that should be used on the soundtrack to some lame movie: ‘The Girl From Last Night’s Dream’



Celtic Frost - Cold Lake (Noise, 1988)


Famously disastrous for Swiss  black/death metal legends Celtic Frost, this is a uniquely dark & sleazy glam classic that sounds like no other.

The song that should be used on the soundtrack to some lame movie: ‘Petty Obsession’



Nitro – O.F.R. (Rampage, 1989)

Unbearably extreme hair metal from a bunch of over-talented music teachers, this album is a headache waiting to happen, though it has its moments.


The song that should be used on the soundtrack to some lame movie: ‘Freight Train’

Saturday 23 June 2012

The Story of an Artist: Essential Daniel Johnston Covers


Due to his highly idiosyncratic, unnerving style and sometimes rough, sometimes non-existent production values, many people prefer to hear the songs of the great Daniel Johnston performed by others; they are wrong for a variety of reasons, but there are many great covers of his work. The following selection is not comprehensive but all of these are definitely worth hearing...














M. Ward: To Go Home (from Post War, 2006)

Guitarist/Singer M. Ward (of She & Him, Monsters of Folk etc) recorded a superb version of Daniel Johnston's 'Story of An Artist' for The Late Great Daniel Johnston, but this is even better; one of the best songs from arguably Johnston's best album, The What of Whom, this version rocks without losing any of the complicated but intense feeling of the original.


Beck: True Love Will Find You In The End (Discovered Covered - the Late Great Daniel Johnston)


Perhaps DJ’s most covered song, nobody quite captures the hopeful desolation of the original version, but Beck’s version gives the song a mournful Neil Young-esque acoustic guitar & harmonica treatment (slightly reminiscent of the great ‘Out on the Weekend’) and makes up in authority what it lacks in fragility.



Camilo Kraxberger: I’m Gonna Buy Me A Car (Hola che, como andas- Homenaje Argentino a Daniel Jonhston)


This Argentinian (I presume) anthology contains many versions of songs that are even more ramshackle than the home-recorded originals, but there are gems here too. Singer/songwriter Camilo Kraxberger sounds almost as fragile as Daniel Johnston on this great, non-amateurish recording. Less melancholy than the original, but much creepier and with excellent use of sampled car salesmen.



Lumberob – Honey I Sure Miss You (I Killed The Monster; 21 Artists Performing the Songs of Daniel Johnston)


This wonderful version manages to sounds exactly like what it seems Daniel Johnston is aiming for on his own extremely affecting but slightly scratchy and wobbly original recording. Sometimes a smooth professional approach tends to bland out some of the original feeling, but here it is sophisticated without being too mainstream and works perfectly.



Drowning Your Mother: Mask (listen here )


This slightly basic cover takes the obsessive, morbid aspect of the song and makes it the whole point: it’s droning, unhappy and great.



BMX Bandits: Do You Really Love Me? (from Star Wars)


As a songwriter and performer Duglas Stewart has the same kind of vulnerability (if less desperate on the whole) as Daniel Johnston, and the BMX Bandits are the perfect band to cover this very Beatles-eque song, retaining the feeling completely while giving the sound of a real band (although in fact the version on DJ’s Artistic Vice (1990) is pretty much professional and polished.



Eels: Living Life (Discovered Covered - the Late Great Daniel Johnston)

This quietly powerful version of a somewhat manic original is based to some degree on Kathy McCarty’s also-great version of the song. Mark E gives a suitably world-weary quality to the optimistically dissatisfied lyric and the whole thing is over far too quickly.

Kathy McCarty – Like A Monkey in A Zoo (Dead Dog’s Eyeball)

There are lots of good covers of this (Teenage Fanclub & Jad Fair’s would be the best if Jad could sing in tune), probably one of Daniel Johnston’s most accomplished early songs as well as one of his saddest. Kathy McCarty gives it a seemingly inappropriate jauntiness but somehow it works.



Virginia Verstraeten – Lousy Weekend (Hola che, como andas- Homenaje Argentino a Daniel Johnston ) - also a nice video)


Another (again, I think) Argentinian singer and a lovely weary version of this slightly bitter song.



Karen O & the Kids – Worried Shoes (Where the Wild Things Are soundtrack)


The delicate, mournful piano and xylophone(?) makes this one of the prettiest DJ covers. Karen O is always a great singer and she makes the most of one of Johnston’s saddest lyrics on this perfect version of an always-great song.



Guster : The Sun Shines Down On Me (Discovered Covered - the Late Great Daniel Johnston)


This song has one of DJ’s most Beatles-esque melodies and Boston band Guster do it justice with a great, wistful performance.



Eddie Vedder:  Walking The Cow (various live versions, here’s a nice one )
 

It would be nice if Eddie Vedder would record a studio version of this (he may have, I am pretty ignorant about Mr Vedder and his work), whereas most covers of this classic song (Kathy McCarty’s is a very good example) more or less follow the tempo of the original (the same pounding rhythm as a lot of DJ’s chord organ-era songs), this version is slowed down without losing the atmosphere, fragility or meaning of the song. Plus he sings it very nicely.



The Pastels: Speeding Motorcycle (single, 1990)


Speeding Motorcycle is, though undoubtedly one of the great Daniel Johnston songs, a difficult one to cover; so much of its effect comes from the original, deeply unhappy performance. Somewhat oddly, The Pastels make it into a very 1990 dance-pop song. It works though, although Yo La Tengo’s version is kind of better on reflection.


AKA Lurholm: Fish (Apskaft tribute to Daniel Johnston, 2011)



AKA Lurholm turns DJ's rueful, extremely self-aware semi-love song into an up-tempo ska tune, adding a cheery quality while while not losing the feel or atmosphere of the original: who'd have thought?


Uni and her Ukelele - Silly Love (2010)

This perfect, assured cover has all of the emotional power of Johnston's various versions, but is a little less wobbly. As beautiful as her ukulele is pink.




Indigo Morgan - Like a Monkey in a Zoo (2010)

This is remarkable not just because it's a great version of this wonderful song, but also because Indigo Morgan manages to be kind of country-ish without automatically being unbearable. Nice guitar playing too.




Thistle - Love Not Dead (from The Late Great Daniel Johnston - Discovered Covered)

Similar to the original but with a girl singer: i.e. great.


Young Statues - Silly Love

 
Another very nice version of this song by New Jersey-based indie band Young Statues. Although there are several great versions of this by Daniel Johnston (the Live at SXSW and Fun versions especially) I'm not sure that he has ever recorded the definitive one yet.



Aaron Robinson - Peek a Boo (2009)
 
Peek a Boo is probably one of Daniel Johnston's most accomplished early songs and Aaron Robinson gives it the kind of professional, but still emotional, recording that it deserves. It seems strange that a song so specific to one individual could be so successfully covered by another singer, but that's always been one of the great things about music, hasn't it?


Joy Zipper - Held the Hand (I Killed The Monster; 21 Artists Performing the Songs of Daniel Johnston)

Baleful but calm and strangely 'nice' version of this supremely creepy song.

Pear Shape - Walking the Cow (2013)



A nice version of the classic by Australian indie band Pear Shape, this one is wistfully happy and summery and has a nice, cheap video too