Like I said, I’ve been snowed under with everyone wanting me to do Continuing Professional Development courses, (CPD), that I’m not able to give albums my full attention. In some of my most recent posts, I have made reference to a compilation album which came out in 1989. The album is called, “Protect the Innocent” and you will see what a magnificent album this really is. Because there are 30 blockbuster metal tunes on it, I’m going break it down like it’s done on the record. Therefore, you get side 1 called, “The First Chapter.”
Steppenwolf- Born to Be Wild
Black Sabbath- Paranoid
Deep Purple- Fireball
Motorhead- Ace of Spades
Judas Priest- Breaking the Law
Ted Nugent- Scream Dream
Ozzy Osbourne- The Ultimate Sin
Blue Oyster Cult- Don’t Fear the Reaper
There you have it, enjoy!
Next post: Part 2- The Second Reign
To buy Rock and Roll Children, email me at: tobychainsaw@hotmail.com
My big question from Ted Nugent’s 1988 album, “If You Can’t Lick’em…Lick’em,” was if his popularity fading away. Being in the UK, I didn’t know this album existed until years after and further evidence was brought about in 1990 when I heard he had joined a band with other fading 80s superstars. However, that’s a story for another time.
On the first listen to “IYCL’E…L’E” was that in an attempt to regain lost popularity, he fashioned some of the tracks after one of his best known songs, “Stranglehold.” Both the opening track and title track give me that impression, even more so with the title cut because even the guitar solo reminds me of that big hit from days gone by. That’s not to say that either of the songs aren’t good, they truly are and maybe he was onto something there.
While Ted has some decent metal tunes on the album, “She Drives Me Crazy” is an excellent metal tune and with its opening riffs from Ted, “Separate the Men From the Boys, Please” is the hidden gem on the album, there is too much of what I would call filler. “Skintight,” “Funlover” and “The Harder They Come (The Harder I Get)” all tick that box. Again, they’re not terrible songs and Ted’s mastery of the guitar is what makes each of these tracks enjoyable. Actually, it’s what saves them as the lyrics to them give ammunition to the accusations of him being a misogynist many years later. Or is it me getting old? Not just the lyrics though, they simply just don’t measure up to the other tracks on the album.
On the other hand, the Motor City Madman does throw in a blinder of a curve ball on the track, “Spread Your Wings.” This is a blues rocker in the vein of many of the great blues based guitarists of the world, I’m talking about Stevie Ray Vaughn, Pat Travers, Eric Clapton, Rory Gallagher and Kenny Wayne Shepherd. With this song, he could have his name right up there with all of those great guitarists I’ve just mentioned. The Nuge really does himself proud with this one. His vocals are very good and his guitar solo just sends me to another dimension. Maybe, it should have been released as a single.
Two points I never realized until pulling out this album. The first is that “IYCL’E…L’E” is the first album where Ted sings lead vocals on every track. I know that he did share vocal duties with other members of his band on previous albums. Ted’s vocals have always been all right, so this is no major shock. What is a little shocking, at least it would have been for me if I had actually heard this album back in 1988, is that he co-wrote the closer with Jon Bon Jovi and Richie Sambora. However, these days, it’s not really a surprise and besides, it’s a good song to end the album.
Track Listing:
Cant Live With’ Em
She Drives Me Crazy
If You Can’t Lick’ em…Lick’ em
Skintight
Funlover
Spread Your Wings
The Harder They Come, (The Harder I Get)
Separate the Men From the Boys, Please
Bite the Hand
That’s the Story of Love
Ted Nugent
Ted Nugent- lead vocals, lead and rhythm guitars, bass
Dave Amato- rhythm guitar, backing vocals
Jai Winding- hammond b3 organ
John Purdell- keyboards
Chuck Wright- bass
Pat Torpey- drums, backing vocals
Tom Werman- percussion
“If You Can’t Lick’em… Lick’ em” would be the last solo album Ted Nugent would release for seven years. History knows what he did during that time but it doesn’t stop this album from being good. Sure, Ted has many greater albums to his name but this one has its charm. One other useless point of information, Ted has only come to the UK four times since this album.
Next post: Sword- Sweet Dreams
To buy Rock and Roll Children, email me at: tobychainsaw@hotmail.com
I did something stupid yesterday. I had CD1 of the above three CD compilation album in my car, listening to it on my way to and from work. When I got home, I put it into my back pocket to put away but guess what? Yes, sh*t for brains here forgot to take the CD out of his pocket. I only noticed it last night when I took Mrs. 80smetalman out for dinner and went to pay. When I reached for the wallet, I also found the CD and when I took it out, it was broken beyond hope. Yep, I acknowledge it was stupid.
Here’s my question: Is there any way I could just get CD1? I don’t want to buy it again when the CD’s two and three are working fine. Besides, the album was a birthday present from my daughter five years ago, therefore, it has sentimental value. If not, some great songs like Dokken’s “Alone Again,” the famous “Beth” by KISS, “Silent Lucidity” from Queensryche will be lost. Plus, there are songs from Damn Yankees, Free and a rather predictable one from Foreigner.
Welcome to the first heavy metal compilation album I bought. It was early February 1985 when I saw “Metal For Breakfast” at my local record store. Since I often used to feel like the way the dude on the cover looks, I thought it was worth a look. When I flipped to the back cover of the album and saw who was actually on it and their songs, I knew I had to buy it straight away. Who couldn’t resist an album with Ted Nugent, Saxon, Y&T, Quiet Riot, Ozzy and Judas Priest on it. Furthermore, the songs from these artists with the exception of Judas Priest’s hidden gem, (I had never heard “The Ripper” until this album), was more incentive to get it. But that’s only half the story!
Attic Records, being based in Toronto, seemed very eager to unveil much of its local talent and they chose a good group to do so. I had heard of Anvil but never listened to them. “Forged in Fire” changed all that. Any band called The Killer Dwarfs had to be granted a listen and “Heavy Mental Breakdown” did not disappoint. This was the first step on their way to them becoming my all time favourite Canadian band. I know Mercyful Fate are from Denmark but the fact that “Black Funeral” comes right out and sings “Hail Satan” sticks one in the ear for the American religious zealots. On the second side is the lovely Lee Aaron and “Metal Queen” is mind blowing. Of course, there’s always a hidden gem and on “Metal For Breakfast” it’s the track “Metalhead” by Blotto. It takes a dig at metalheads but it’s done in a really funny way plus, it’s a good song. So what you have is a great combination of well known metal tunes and ones that weren’t so well known coming together to make a fantastic album.
Track Listing:
1. Anvil- Forged in Fire
2. Ted Nugent- Cat Scratch Fever
3. Killer Dwarfs- Heavy Mental Breakdown
4. Accept- Balls to the Wall
5. Mercyful Fate- Black Funeral
6. Blotto- Metalhead
7. Lee Aaron- Metal Queen
8. Saxon- Princess of the Night
9. Judas Priest- The Ripper
10. Quiet Riot- Metal Health
11. Y&T- Mean Streak
12. Ozzy Osbourne- Crazy Train
And I think you should listen to the hidden gem:
Back in 1985, “Metal for Breakfast” was the classic metal combination of what was known and not so known in the heavy metal world. Nowadays, it’s just a classic 80s album but it still kicks ass!
I probably looked more like this back then.
Next post: Dokken- Tooth ‘N’ Nail
To download Rock and Roll Children for free, go to: http://allkindlecloud.com/register/14510967-Rock-and-Roll-Children_pdf_free.html
Guess what? For this Ted Nugent post, I’m not going to say anything about his politics. Even I know when to stop beating a dead horse. So instead, I’ll focus on his 1984 album, “Penetrator,” which was universally criticized by the metal world for his use of keyboards on the album. To my shame, even I was one of those critics. Thankfully, there’s a much older and questionably wiser me to listen to the album with a more objective mind. My thoughts: “Penetrator” still doesn’t make me want to put albums like “Cat Scratch Fever,” “Weekend Warriors” and “Scream Dream” nor any of his kick ass live albums on the scrap heap but it’s still a pretty good album.
The use of keyboards come through straight away on the opening song, “Tied Up In Love” but not until after a really cool guitar intro only which Terrible Ted can do. Before, I risk repeating myself over and over, the keyboards do make their presence known on many of the songs but they play a subordinate role on the album. Take the second song for example, “(Where Do You) Draw the Line.” This song was written by Bryan Adams and Jim Vallance so one might be forgiven for thinking this was going to be some keyboard dominated soft rock song, it’s not. Ted’s guitar magic comes through very loud and abundantly clear. While still present, the keyboards take even more of a back seat on “Knocking at Your Door.” There are some good guitar riffs to lead the song and Ted nails the guitar solo perfectly. Even more so on the track after “Don’t You Want My Love.” Here the keys are almost non existent. Almost, but there are plenty of Nugent style rocking to be heard on it.
A curious twist comes up with “Go Down Fighting.” This is a song title that you would expect to be a belt it out of the park rocker but the keyboards make their presence known on it, almost making it a Journey type song. The strange thing is that the intro reminds me of Savatage, yeah really. Fortunately, Ted works his guitar magic so you know which side of the fence the song really is. Any doubts of that are dispelled with “Thunder Thighs.” This is a great rocker where Ted just takes control and jams and I hear not one trace of keyboards. It’s just Ted being how he always had been in albums past. However, I sometimes am reluctant to declare it my favourite song on the album because of the sexist connotations behind the title. “No Man’s Land” is just as heavy, if not more than it’s predecessor. Where you think there might be a keyboard at the chorus, there isn’t. After a couple of decent but non descriptive tracks is the closer “Take Me Home.” Again, maybe it’s me but this sounds like a Southern Rock anthem. Not something I’d expect from Ted Nugent but it’s the best song for the closer.
Looking at the credits and remembering recent posts, it turns out that Bobby Chouinard’s drum skills were in great demand in 1984. He played on some of the tracks of both Gary Moore albums I recently posted about and he plays on this entire album. It leads me to conclude that his skills have been forgotten about in later years and this is a travesty because, he’s that good.
Track Listing:
Tied Up In Love
(Where Do You) Draw the Line
Knockin’ At Your Door
Don’t You Want My Love
Go Down Fighting
Thunder Thighs
No Man’s Land
Blame it On the Night
Lean Mean R&R Machine
Take Me Home
Ted Nugent
Ted Nugent_ guitars, lead vocals
Brian Howe- lead vocals
Alan St John- keyboards- vocals
Doug Lubahn-bass
Bobby Chouinard- drums
Two interesting notes regarding Ted Nugent, the first coming from this post. Two years on, I would see Ted Nugent live with Savatage in support. It was a great concert even if it was poorly attended. The other was after my last Ted Nugent post, I put him down on the Bloodstock wishlist. The only comment I got back was someone saying they would love for him to play Bloodstock but he has only come to the UK four times since 1988. Anyway, back to “Penetrator.” This album was far better than I remembered it back in 1984, keyboards or not.
Next post: Great White
To get Rock and Roll Children, go to: https://spread-luv.ga/info/kindle-free-e-books-rock-and-roll-children-by-michael-d-lefevre-9781609763558-pdf.html
Apologies for all of those who were expecting to be reading my thoughts on the “Fugazi” album from Marillion. Trust me, that will be coming very soon. What has thrown a metal spanner in the works was my getting and listening to the debut album, “Afterthoughts” by Greywind after seeing them dominate the Avalanche Stage on the Saturday and Download. Now, that I’ve had a couple of listens to it, I am even more impressed and now want to spread the word about this band.
Greywind making their mark at Download
At first listen, one might be tempted to compare Greywind to Paramore and there are similarities in the sound beyond the fact that both are fronted by female lead singers. Only similarities though, as I find Greywind to be much more in your face than what Paramore ever was, no disrespect to that band. There is some powerful forces at work on “Afterthoughts” in between some flashes of prog metal. The best example of this is on the tracks “Circle” and “The Lake.” The latter uses a piano in a very seductive way that lures you into a possible mellow out before belting you ear drums with more guitars. However, those aren’t my favourite tracks on the album. The title track is a definite candidate as well as being a great opener for the album. I also like the track “Desolate” for its start like a ballad before ripping your head off power chords and then going back and forth between the two and “Car Spins” is a very interesting track to say indeed.
One thing I learned after purchasing the album was that Greywind are actually a brother and sister act fronted by guitarist Paul O’Sullivan and singer Stephanie O’Sullivan. The rhythm section get a mention in the Special Thanks part on the label as they should. Mark Chapman and Adam Perry make a very good one here. Guitarist Paul is a very good guitarist which is paradoxical for me. I usually like ones who do blistering solos ala Van Halen, Nugent, Blackmore, Iommi, Page etc. I had to stop there before I got carried away naming all the great axemen. He does play some intricate little riffs throughout the songs that don’t escape your attention.
For me though, it’s the dominating voice of Steph that makes this album for me. In comparison to Paramore, Hayley Williams’ vocals don’t even come close! Steph O’Sullivan can do it all. She can sing soft or belt you with her raw power vocal chords. She did that at Download and she does it here on the album.
Track Listing:
Afterthoughts
Forest Ablaze
Circle
Safe Haven
The Lake
Car Spin
Stitch On My Wings
Desolate
In Autumn
Wander
Stephanie O’Sullivan giving it her all.
Stephanie O’Sullivan- vocals
Paul O’Sullivan- guitars
Mark Chapman- bass
Adam Perry- drums
The whole point of my writing “Rock and Roll Children” and starting 80sMetalman was to get everyone to get out their old albums and listen to them again. I know a lot of you never stopped listening to them. In this case, I’m hoping that you will give a new band a chance and listen to their debut album because I think it’s worth it.
To buy Rock And Roll Children go to: https://www.amazon.com/Rock-Roll-Children-Michael-Lefevre/dp/1609763556/ref=sr_1_8?ie=UTF8&qid=1499276423&sr=8-8&keywords=michael+d+lefevre
Internet didn’t exist back in 1983 and that is going to be my excuse for posting an album that came out in the middle of 1982 in 1983. A quick historical point here, it was the early 1980s when computer technology was becoming accessible to the common masses. I did do an introductory course in computers during my first semester at college in the Autumn of this year but that’s not important here. What is was the fact that back then, I had to rely on record stores, radio, word of mouth and a late night television show called “Video Rock” to learn about new music. Our house didn’t even get MTV until the December of this year! It was the mentioned television show where I first learned about the Stray Cats in the summer of 1983.
It was their 1950s look and sound that first got my attention. At a time where everyone was trying to be different, the Stray Cats actually were. While I wasn’t very impressed with the first single I heard, “Stray Cats Strut,” I did like the second one that reached my ears, “Rock This Town.” Even though, like most people, I got the impression they were in love with the fifties, I thought they were at least trying to be original at the time. Besides, with “Rock This Town,” they proved to me they were good musicians. Brian Setzer was a competent guitarist, (no Van Halen or Nugent but competent) and Slim Jim Phantom and Lee Rocker work very well together as a rhythm section, a point I will certainly expand on when I get to 1985.
The Stray Cats’ album “Built For Speed,” pretty much sounds like the two songs I’ve already mentioned. They are firmly locked in the 1950s rockabilly sound reminiscent of Eddie Cochran or Bill Haley and the Comets, not a bad thing. Each song, with the exception of the slower “Lonely Summer Nights” possesses a catchy sound that draws you in. It might not get you to start fist pumping and banging your head but I did find myself wanting to snap my fingers along with them, which is saying something for someone with no natural rhythm. Apart from “Rock This Town,” the other songs which stand out for me are “Little Miss Prissy,” “Rumble in Brighton” and “Jeanie, Jeanie, Jeanie.” All contain a strong dose of the elements that turned my ear to the Stray Cats in the first place. Not only was it something different at the time, what was different was done very well.
Track Listing:
Rock This Town
Built for Speed
Rev It Up & Go
Stray Cats Strut
Little Miss Prissy
Rumble in Brighton
Runaway Boys
Lonely Summer Nights
Double Talkin’ Baby
You Don’t Believe Me
Jeanie, Jeanie, Jeanie
Baby Blue Eyes
Stray Cats
Brian Setzer- vocals, guitar
Slim Jim Phantom- drums, percussion, vocals
Lee Rocker- double bass, bass, vocals
Outside of this album, I have little experience of the Stray Cats. For me, their 1950s persona would only last for the one album. Their next album would pretty much escape my notice and in the years following, it would be their post break up projects that I would be more into. Saying all this, however, doesn’t stop “Built For Speed” from being a pretty good album.
Next post: Michael Stanley Band- You Can’t Fight Fashion
One of the things I should have realised, but didn’t, is that there were some killer live albums in 1982. Three of them, Black Sabbath- “Live Evil,” Michael Schenker Group- “One Night at Budokan” and Blue Oyster Cult- “Extra Terrestrial Live,” I bought not long after they had come out. The fourth, Ted Nugent- “Intensity in 10 Cities” would escape my knowledge for a long while. That’s the problem when you are in the military and spend most of the year deployed overseas. It creates a Swiss cheese effect on things like musical releases from bands you might follow. This caused me to completely miss a fifth great live album and one that definitely stands shoulder to shoulder with the ones I’ve already listed. That is Saxon- “The Eagle Has Landed.”
Having seen Saxon live before I got to listen to “The Eagle Has Landed,” I had a very strong inclination that this was going to be an excellent live album. I was right. It has all of the classic Saxon songs at the time with the bonus touch of being played so well live. I thought it was only natural that they used the great song “Wheels of Steel” for the audience participation part of the show. After all, that song is one of their best known songs.
The added bonus for me was that the album was recorded while Saxon were on tour for my favourite album of theirs, “Denim and Leather.” “Princess of the Night” has its much deserved place on the album and is played brilliantly on it. Here is my personal slight disappointment about that. Other than “Princess,” the other two songs, “Never Surrender” and “Fire In the Sky” wouldn’t have been my first choices from “Denim and Leather” to use on the live album. Don’t get me wrong, they are both cool songs but why the hell wasn’t the title track on it? After all, “Denim and Leather” is a metal anthem that rings true throughout the metal generations! I thought it was only right that it be on the live album. Another song I would have used would have been “Play it Loud,” almost for the same reason. Saying that, “And the Band Played On” and “Midnight Rider” appear on the 2005 remaster. But enough of me nit picking, there are so many great songs on “The Eagle Has Landed” that it makes it a guaranteed good listen.
Track Listing:
Motorcycle Man
747 Strangers in the Night
Princess of the Night
Strong Arm of the Law
Heavy Metal Thunder
20,000 Feet
Wheels of Steel
Never Surrender
Fire in the Sky
Machine Gun
Saxon
Biff Byford- vocals
Graham Oliver- guitar
Paul Quinn- guitar
Steve Dawson- bass
Nigel Glockler- drums
Like I said, there were many great live albums in 1982. Saxon’s contribution “The Eagle Has Landed” definitely belongs along side of the other great ones from that year.
Someone once called me “clueless” because I stated that I would still go to a Ted Nugent concert in spite of his political ramblings. What do they know? What I know is that when you see the Motor City Madman on stage, you don’t care about politics, you are simply amazed by the energy Ted emits while on stage and the magic he creates with that guitar. Having seen him live twice and both accounts are recorded for posterity in “Rock and Roll Children,” I can personally testify to this.
“You’re Double Live Gonzo, Live at Budokan, Intensity in 10 Cities.” Wayne Campbell to Casandra in Wayne’s World 1
I have heard many a live album in my years and I can say that no one else brings the energy from a live show onto a record better than Ted Nugent. This is just as much true with the 1982 live album “Intensity in 10 Cities” as it was with the 1978 “Double Live Gonzo.” The songs recorded on the album were a series of songs that were never recorded previously. Ted believed that since those songs had been well honed over the months of playing them on tour, they would sound better recorded live as opposed to in the studio. I have to say, I think he was right on that one.
If “Intensity in 10 Cities” had been recorded as a live concert instead of over a series of concerts, it still would have been worth the price of admission. These are 10 songs that simply sound fantastic live and the order they appear is near perfect. If it wasn’t for his introduction of the song before he played, “Put Up or Shut Up” would have been a great show opening song. It’s one that would have definitely gotten the crowd on their feet.
While his trademark work with the guitar is well cemented on the album, it is the third track “My Love is Like a Tire Iron” where he really goes to the ionosphere with it. The long lead solo is simply hypnotic and the same can be said for the solos on “Heads Will Roll,” “Land of a Thousand Dances and of course, the instrumental “The TNT Overature.” Furthermore, his between the songs banter is best on “Jailbait” which is shows his more humourous side. However, the stand out track for me is “I Am a Predator” because that song has many of the elements I have already mentioned.
This mighty combination propels things very nicely to the closer “I Take No Prisoners.” It’s not a bad closer, especially when he works his typical guitar magic, but if I were in the audience and heard that song before he left the stage, I would certainly expect him back to play more. Me personally, like the Mitch character in the book, I would be screaming for him to play “The Great White Buffalo.” His failure to play that song either time I saw him is the only thing I can hold against his performances.
Track Listing:
Put Up or Shut Up
Spontaneous Combustion
My Love is Like a Tire Iron
Jailbait
I Am a Predator
Heads Will Roll
The Flying Lip Lock
Land of a Thousand Dances
The TNT Overature
I Take No Prisoners
Ted Nugent
Ted Nugent- lead vocals, lead guitar
Charlie Huhn- lead and backing vocals, rhythm guitar
Dave Kiswiney- bass, backing vocals
Cliff Davies- drums, backing vocals
So there you have it, a live album that would have sounded great as a concert on its own. Ted Nugent shows why he is so awesome live and puts that down on vinyl, cassette and CD. “Intensity in 10 Cities” is a tribute to a fine musician. BTW, can any of you spot the mistake in this post?
New Wave of British Heavy Metal or NWOBHM had clearly established its dominance around the world in 1982. However, thanks to bands like Riot and Y&T as well as others whose albums will be visited very soon, American metal wasn’t completely silent . Of all the American bands, the one artist who draped himself (and still does) in the American flag was Ted Nugent. In this year, the Motor City Madman put out a studio album and a live one. It is the studio album, “Nugent” that is being visited today.
Another reason why I’ve decided to visit the studio album first was that because of my military obligations, it was another album that passed me by in that year. Yet again, it’s another album I regret missing in 1982. “Nugent” has all the classic trademarks of the things that made Ted Nugent great. Most noteworthy, as is always the case with Ted, is the fact that he can wail on a guitar. His solos are present on each and every song, though the stand out for me is “Good and Ready.” “No, No, No” also comes to mind in this respect.
Apart from his exemplary guitar work, he does write some good songs. It is true that “Bound and Gagged” may be the first inclination of Ted’s feelings of fanatical American patriotism and right wing politics but I know I wouldn’t have noticed or cared back then. It’s still a cool song. That’s one problem with listening to the song with, in this case, the curse of hindsight. I also found myself wanting to sing along to “Fightin’ Words.” “Ebony” might be classed as his attempt at a single but I never heard it on the radio, not that you ever heard much of his material there to begin with. Nevertheless, it’s a decent song.
“Don’t Push Me” is short and to the point and definitely one I would have used to blast out the car window while driving. Note to self, maybe I should make my own CD of driving songs. Anyway back on the subject. The way he lays down the guitar jam while the band is repeating the title works for me in so many ways. If there was one thing I would change on “Nugent” it would be the order of the last two songs. “Tailgunner” is a good song but I thought the one before it “We’re Gonna Rock Tonight” would have been a better closer. It’s just that the lyrics and overall vibe of the song make it a great song to end the album on but that’s just me.
Track Listing:
No, No, No
Bound and Gagged
Habitual Offender
Fightin’ Words
Good and Ready
Ebony
Don’t Push Me
Can’t Stop Me Now
We’re Gonna Rock Tonight
Tailgunner
Ted Nugent
Ted Nugent- lead vocals, lead guitars
Derek St. Holmes- guitar, vocals
Dave Kiswiney- bass, vocals
Carmine Appice- drums, vocals
Larry Brown- percussion
Donnie Backus- piano
Ted Nugent let the world know in 1982 that there was still plenty of good metal in America with his two albums. “Nugent” was one of those and proved that he could still rock with the best of them.
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