Slash

Nöthin’ But a Good Time

Posted on by edwardlayland

Tom Beaujour and Richard Bienstock’s Nothin’ But a Good Time tracks the decadent rise and fall of the much derided 80s hard rock / hair metal scene. It weaves a narrative from Van Halen and early incarnations of Quiet Riot, through the dizzying success of Mötley Crüe and Poison and the birth of Guns N’ Roses, to the scene’s implosion with all the look-alike sound alikes power ballading their way onto Dial MTV. 

After a revealing introduction from Slipknot’s Corey Taylor (!) professing his love for the 80s glam scene, music journalists Beaujour and Bienstock create an oral history through old and new interviews and quotes from a broad selection of players from L.A. and beyond. It’s the words of those involved that paint a vivid picture of the scene and its shenanigans, whether it’s A&R wizards like Tom Zutaut, producers like Tom Werner, the bands themselves, the publicists, stylists or even the odd groupie spilling the tea.  

It was clearly a wild time marked by rampant misogyny and unbridled excess, and the book takes us behind the scenes into the rivalries and ridiculousness to reveal the last hurrah of a tribal music scene before grunge changed the mood, the internet permanently altered life as we know it, and phones replaced lighters. Love it or hate it, there is no denying that it was hard rock’s most vibrant period, and, despite the scene eventually disappearing up it’s own backside and having its coffin nailed shut by the Seattle bands, it produced a lot of surprisingly enjoyable, good, old-fashioned rock n roll, as well as a bunch of stuff that’s probably best forgotten.

The book reveals all kinds of insights, from Slash’s audition for Poison to Sebastian Bach’s performance alongside Zakk Wylde at a wedding that led to him getting the Skid Row gig, via Jon Bon Jovi’s parents of course! There are all kinds of interesting backstories, but the one big shocker is that some of these bands worked really hard to achieve what they did, living in abject poverty and dedicating absolutely every waking hour to making it big. 

The book can come across as a little he-said-she-said gossipy at times, but that’s hardly surprising given the overriding High School Musical vibe of the scene. Still, for those who grew up with an HR/HM soundtrack, this book provides a delightful romp down memory lane in a no-holds-barred exposé of the misadventures of the time. It has also been distilled down into a three part docuseries on Paramount+ that is equally good fun, featuring said interviews from a number of the key players. 

Now that there is some distance from the time, it is clear that despite eventually becoming a parody of itself, a lot of great songs came out of the melee. So, check out the Spotify playlist that I’ve curated to more or less chronologically reflect the book’s narrative. 

Guns n Roses – Live in Rio Review

Posted on by edwardlayland

wp_20161116_005-3So, a few months back I wrote a piece on the much lauded Guns n Roses “reunion”, saying what an awful idea it was. My argument was basically that it was a cynical money making venture and that Axl could not and would not cut it, as he has been largely shit for the last 20 years. I also suggested that the shows would be nowhere near as good as they were back in the day and that it was one more nostalgic nail in the coffin of modern rock.

However.

Then I saw the videos of the performances from the U.S and it was pretty damn obvious that Axl was actually cutting it. Maybe not like a hot knife through butter, but there were high notes and enthusiasm, and not just in GnR, but in AC/DC too. And with a broken foot.

Then, as the tour showed little sign of imploding and actually decided to roll on down to South America, what else could I do, but see for myself. wp_20161116_005-2

So the question is, did I eat my words?

Kinda.

After a functional set from the uninspired choice of opening act, Brazilian rockers Plebe Rude, and a surprisingly short interval, in which we got to see the really quite beautiful logo variations on the backdrop, the Looney Tunes theme blared out and it was showtime.

‘It’s So Easy’ kicked things off and we all went mental. Seriously. Once upon a time Guns n Roses was known as the most dangerous band in the world and for the first 15 minutes or so it was easy to see why. The crowd was like a raging sea as it bounced as one to the punk energy of the opener and the swagger of ‘Mr. Brownstone’, even ‘Chinese Democracy’ got people jumping before the teased intro to ‘Welcome to the Jungle’ eventually sent everyone ballistic. For a few moments Axl, Slash, Duff and Co rocked as hard as they ever did; sure they are a little slower and a little rounder, but they still know how to deliver a good old fashioned hard rock banger.

‘Double Talkin’ Jive’ immediately calmed things down a little and calm they stayed, for the underrated ‘Better’ and an absolutely epic performance of ‘Estranged’. Despite proving spectacular and one of the highlights of the night, this was the first of many rather indulgent mega ballads – we got them all, bar ‘Patience’.

‘Live and Let Die’ was predictably frantic, prior to the cool bass groove of the sorely underrated ‘Rocket Queen’; the already lengthy track gaining an extended midsection and sexy skeletons on the backdrop. There was another surprise in ‘Out Ta Get Me’ before the heroin chic of the tireless Duff McKagan pounded out the bass riff to ‘You Could Be Mine’ to get the crowd bouncing again. Although Axl was mostly excellent, reaching most of the high notes, it was here and more notably on ‘Coma’ that he struggled – the fast sections tripping him up a little. A mid set breather was due – cue Duff and his version of the Misfits‘ ‘Attitude’.

img-20161119-wa0002-2‘This I Love’ preceded the epics ‘Civil War’ and ‘Coma’ before the obligatory Slash solo of Speak Softly Love (Love Theme From The Godfather). It was all great stuff and the top hatted one still shreds, but the dude has been playing the same damn thing since I was a kid – talk about playing it safe. Was it then necessary to do an instrumental duet with Richard Fortus on ‘Wish You Were Here’? Sure, it was awesome, the crowd sung it, people cried and Slash and Richard nailed it, but two solo slots?
Sandwiched in between were the unbeatable ‘Sweet Child O’ Mine’ and the surprisingly fun ‘Yesterdays’, which proved much more enjoyable in the live arena than on record. In a neat twist they then segued ‘Wish You Were Here’ into the piano outro from ‘Layla’ to get Axl on the piano.

Only one song could follow, and follow it did. On the one hand November Rain epitomizes everything that is pretentious and overblown about GnR and can so easily turn into an awful lumbering spectacle of over indulgence. Thankfully though, the front man seems to be in a good place right now, despite him and Slash virtually ignoring each other all night, and he crooned his way though with technique and urgency, delivering one of the best vocals of the night. For some reason most of the crowd seemed to have balloons to go with cell phones and it all made for a quite beautiful spectacle, even more so as the massive full moon emerged above the stadium right on cue – I guess these kind of shared moments are the whole point of such nostalgic outings. Fair play Axl.img-20161117-wa0007-2

Two hours in and the vocalist was visibly enjoying himself as he rolled back the years to dart around the stage to conduct the crowd in a sing off on ‘Knockin’ on Heaven’s Door’. By now it was utterly shameless enjoyment of timeless classics, and we were certainly getting our money’s worth.
We rocked again for set closer ‘Nightrain’, but it was back to the ballads in the encore of ‘Don’t Cry’ with more extended guitar work. The Who‘s ‘The Seeker’ offered an irresistibly big riff, but we were really only waiting for ‘Paradise City’ to rock to an explosive close. And it did not disappoint – mosh pits opened up, swathes of bodies bounced as one and it was genuinely wild abandon in the crush – it almost felt like 1990 again.

The crowd actually demanded another encore, but the band returned merely to take a bow, all hugs and smiles.
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So, all in all, I guess you have to take your hat off to Guns n Roses – they are still a mighty proposition and deliver a fine performance. They are seasoned pros and know how to work a stage and get a crowd going, despite the minimal interaction between band members and between band and crowd.
Are they still dangerous? Not really, but they do rock and they are a pretty tight unit; they put on a show but it’s not over produced and works well with less people on stage – no horns, no backing singers, a cool backdrop of images and minimal pyrotechnics keeps it lean.

Is Axl the vocalist he was 25 years ago? He’s a damn sight closer to it now than he has been in the last 15 years. His range is impressive and he works the mic, but the impression is that age has taken it’s toll a little and slowed up the delivery, there may be an element of tiredness too.

Are they just in it for the money? Surely that is a factor, but then again they do seem to be enjoying themselves, so I’ll reserve judgement. Also, they may be raking in the cash, but at two and a half hours long their set is pretty damn good value.

Is it all just shameless nostalgia? Sure, of course, but when you are this good and the material still cuts it, then why the hell not? Quite how long the night train can roll on without new product though is open to question, as is whether or not the relationships will endure. In the meantime though, they are well worth the trip down memory lane.

Six Second Albums That Actually Nailed It

Posted on by edwardlayland

Ah yes, the difficult second album – there’s so much that can go wrong and it so frequently does, more often than not ending up in the shadow of the classic debut and the all important third album. The list of second albums that fall somewhere between the disappointing and the disastrous is immense. Bristol triphoppers Massive Attack are prime example of a band that falls into the former category, 1993’s ‘Protection’, despite being a nice enough album with some quality tracks, is positively lukewarm in comparison to their monumental debut ‘Blue Lines’. Florence and the Machine‘s ‘Ceremonials’ is another culprit; Iron Maiden get beyond the artwork on ‘Killers’, but it’s hardly a tour de force; ‘Van Halen II’ is but a shadow of the first album and despite positive criticism The Strokes sophomore effort, ‘Room on Fire’, was never going to live up to ‘Is This It’. As for categorical failure of a follow-up, look no further than Stone Roses’ ‘The Second Coming’ – can it get any worse than this?
Yes – Kula Shaker, ‘Peasants, Pigs and Astronauts’ – nailed that band’s coffin closed.

Actually, there’s a whole bunch of other records that were never really what you’d bought into on the debut, the list is endless; Portishead, Finlay Quaye, Terence Trent Darby, Duffy, Elastica and so on and so forth, and as we can see, failing to deliver the goods is irrespective of genre, although it has become a far more common phenomena in the days demanding instant success. It seems that the second album basically runs into trouble because of pressure resulting from the first record. Bands get caught up in the touring and the success and are too busy “making it” to get the next record written. Then there’s the inevitable come down when they find themselves in the studio under pressures of time and money to deliver a new product, but this time, barring a few leftover tracks not quite good enough for album number one, they’re starting from scratch, having spent the last few years playing to death that first batch of songs they so lovingly created. Bands get so focused on establishing themselves with the first album that they don’t have time to really think about there being a next one, let alone what to put on it. They almost need to fuck up the second album a bit to take the pressure off and get the hunger back for album number three – if there is one!

However, despite the all too common let down of a band’s second record, there are also plenty of killers. Once upon a time, artists were given the chance to develop; their record labels actually helped them progress. Bands were often signed to seven album deals, so labels were in it for the long haul – they wanted to see their artists improve and sell progressively more records. Also, it wasn’t unusual to sign a band based on potential rather than one that already had its bangers primed and ready. Blur is a great example of a band that had potential, but had yet to find its songwriting chops on debut album ‘Leisure’, it’s their second album ‘Modern Life is Rubbish’ where things start coming together. Then there’s the thrash metal scene; in the beginning it was all a bit rough and ready, but by their second albums Metallica, Megadeth and the like were coming on in leaps and bounds. So, here’s a bunch of second albums that not only progressed but blew away their predecessors and quite rightly became classics.

The ultimate second album is surely Nirvana‘s ‘Nevermind’, possibly the most game changing record in history. It’s predecessor, ‘Bleach’, had hinted at the band’s potential, but was miles short of what would follow. Cobain had long harboured the desire to harness the aggressive energy of punk and marry it to more accessible melodies and the final pieces of the puzzle finally fell into place whilst writing the songs for Nevermind. Kurt borrowed the Pixies loud – quiet – loud template and suddenly not only his fury, but also his talent had a vehicle; the rest, as they say, is history.

Radiohead‘s debut album, ‘Pablo Honey’ is a fairly unremarkable affair, save for the ubiquitous ‘Creep’, which the band grew to hate; its follow up, The Bends, however, is one of the finest albums of alternative rock ever to see the light of day. The entire album is all killer, ‘High and Dry’, ‘Fake Plastic Trees, ‘Just’, ‘Street Spirit’, I mean, it’s quality track after quality track that propelled the band towards the big time. They may have taken a more arty direction after the fairly conventional songwriting on display, but without The Bends and the bold statement that is ‘OK Computer’, Thom Yorke and co never would’ve gained the leverage to follow their chosen path.

If you go back and listen to the first Lenny Kravitz album, ‘Let Love Rule, you’ll here a soulful young man blending a kinda laid back hippy-like innocence into some funky folky rock n roll toons, and it’s a highly enjoyable record. The world’s one time highest paid session musician was breaking in slowly though, as on his second effort, ‘Mama Said’, he came back pimped up, jazzed up and funked up and knocked it out of the park. Fields of Joy is a ‘Stairway’ for the 90s, ‘Always on the Run with Slash is a sublime rocker; there’s quality rock pop a plenty, funky reverb on ‘Stop Draggin’ Around’; soul fueled crooning on ‘All I Ever Wanted’ and the whole album is peppered with bass groove and jazzy licks. Where did it all go wrong?

Led Zeppelin II. It’s Led Zeppelin, only more so – every song a winner. Nuff said really.

Björk shook off the Sugacubes on ‘Debut’, but it was on ‘Post’ that it all came together. This urban soundtrack remains as one of her finest albums and is jam packed with hard edged indie pop in the Icelander’s own inimitable style; from the sinister opening to ‘Army of Me’ you just know it’s going to be a winner. There’s the manic Hyperballad, the irrepressible ‘It’s Oh So Quiet’, ‘Isobel’, ‘The Modern Things’, ‘Enjoy’ and so on and etc not a dull moment to be found.

I will readily admit to not being the biggest Foo Fighters fan in the world, but you gotta love Dave Grohl for just being such a nice bloke, and on his/their second album, ‘The Colour and The Shape’ he delivered the goods. Besides the killer singles ‘Monkey Wrench’, ‘My Hero’ and ‘Everlong’, which are without doubt some of the most iconic alternative rock songs of the nineties, the album is imbued with a cathartic quality that runs surprisingly deep. Ok, so there’s plenty of upbeat snippets where Dave and co sound like their having a great time, but it’s the raw emotion on the ballads that really picks the scab on Dave’s then recent divorce. Besides, the emotional moving on, this record really exorcised the whole Nirvana thing and paved the way for Foo Fighters to be respected in its own right – respect. Check out this live version of ‘Hey Johnny Park’, Dave looks so young and it’s got such raw emotion.

Sixx A.M. – Six(x) of the Best

Posted on by edwardlayland

SIxxAM

In the current musical climate it takes something special to pull off Hard Rock without it sounding like a lukewarm version of the 1980s. Thankfully, the combined talents of Motley Crüe bassist Nikki Sixx, Guns n Roses guitarist DJ Ashba and multi-platinum producer/engineer/songwriter James Michael not only pull it off, but also add a modern twist, experimenting with a variety of sounds over the band’s three powerful records.

Originally formed back in 2007 for the soundtrack project to Nikki’s brutal ‘Heroin Diaries’ book, Sixx A.M. were never even meant to tour, but public demand soon changed that and the busy schedules of the individual members had to be put on hold. The tour led to a second record, also accompanying a book, Nikki’s photography project, ‘This is Gonna Hurt’, which inevitably led to more touring, more recording and the release of 2014’s ‘Modern Vintage’. All three albums are jam packed with hard rocking hook filled tunes, but they also include an array of interesting touches, from catchy pop, through industrial to music hall and the theatrical.

There’s a kind of freshness and instant likeability to the creative hotbed that is Sixx A.M.; Michael knows how to deliver a good old fashioned radio-friendly hook, yet their heavy assed tracks are glued together by Ashba’s powerful riffing and soaring solos, all underscored by Sixx’s rumbling bass. As well as covering the hard-hitting subject of addiction and recovery, there’s plenty more substance to the lyrical content in their accessible take on modern life. As Nikki says:

“A big part of our message is, and will always be, finding hope in dark subject matters, taking universal messages and rendering them in a way which people can ascribe their own meanings to and relate to their own life experiences. That is something that resonates with our crowd and gives us the strength of connection we do.”

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Now that the final nail has gone into the Motley Crüe coffin and that Slash has (temporarily) made up with Axl, it looks like Nikki and Dj might have a bit of extra time on their hands to dedicate to this intriguing project which keeps serving up killer tunes. With Michael making space in his prolific songwriting and production schedule, the coming release of their fourth album Prayers for the Damned Vol 1.’ and the possibility of Vol.2 also following in 2016, should see the band making serious waves; there are already a number of top festival dates confirmed. In the meantime, ‘Rise’, the killer first track from the new record, has already dropped and the album is set to follow in late April, so as a taster, here are six(x) of their best…

‘Relief’ from ‘Modern Vintage’
This starts out like an urgent hard rocker, but soon takes on a darker feel with a more restrained vocal, before the annoyingly catchy chorus. Although a little less epic than some of their work, the frantic feel gives it a vibrant energy that makes for a killer tune.

‘Stars’ from ‘Modern Vintage’
For high quality slickly delivered melodic hard rock, it don’t get much better than this.

‘Lies of the Beautiful People’ from ‘This is Gonna Hurt’
Despite being seriously hooky and possessing a touch of uplift to the chorus, this is actually one of their darkest tracks and features some great work from DJ Ashba.

‘Life Is Beautiful’ from ‘THe Heroin Diaries Soundtrack’
Although ‘This is Gonna Hurt’ has some great moments it’s the ‘Heroin Diaries’ that is all killer and ‘Life is Beautiful’ showcases pretty much everything that rocks about this band – great chorus, banging riff – good, straight forward, hard-rocking tune.

‘Van Nuys’ from ‘THe Heroin Diaries Soundtrack’
They manage to include a killer hook and put a commercial spin on this claustrophobic track about Nikki’s addiction. It also features some lovely touches in the instrumentation as well as James Michael’s most versatile vocal performance; superb.

‘The Girl With Golden Eyes’ from ‘THe Heroin Diaries Soundtrack’
There are so many great tracks on ‘Heroin Diaries’ that it’s actually difficult to pin-point a favourite; I love ‘Courtesy Call’, ‘Pray For Me’ rocks and ‘Dead Man’s Ballet’ is one of the most innovative tracks they’ve done, but there’s something about this song that I love – maybe it’s the brutal honesty of the track, the building intensity or just its atmosphere – whatever, it’s a great track.

Check out new track ‘Rise’ right here: https://www.youtube.com/watch?v=EzEsBe2bt3w and check the website for news on the album and up-coming tour here: http://sixxammusic.com/

Also, you can check out more of the spectacular photography of Stephansdotter on facebook at https://www.facebook.com/stephansdotter or online at http://www.stephansdotter.com.