CD Review: Motor Sister – Ride

CD Review: Motor Sister – Ride
Metal Blade Records
All Access Rating: A

Motor Sister - Ride 2015

Motor Sister is sort of a reincarnation of Mother Superior, a trio from Los Angeles that unabashedly glorified ballsy '70s American hard rock, fiery proto-punk and bluesy soul in the '90s before calling it quits in the early 2000s after a run of eight strong, and sadly under-appreciated, albums.

Mother Superior could never break through the flannel-clad ceiling of the grunge era, but they did catch the ear of Anthrax's Scott Ian, as well as punk icon Henry Rollins. In fact, the Jim Wilson-led outfit once served as Rollins' backup band, with session work for the likes of Alice Cooper, U2 producer Daniel Lanois, Meat Loaf, Iggy Pop and many others also on their lengthy list of credits.

Now comes Motor Sister, a quickly thrown together project that grew out of Ian's burning desire to reunite Mother Superior for his recent 50th birthday party, where the groundwork for the Metal Blade Records release of heady, straightforward rock 'n' roll that is Ride was laid. First, there was a quick rehearsal, and then a blazing performance of Mother Superior material from Ian, drummer John Tempesta (The Cult, White Zombie), bassist Joey Vera (Fates Warning, Armored Saint) and Ian's wife Pearl Aday – a frequent collaborator with Wilson on her own solo work – that left the 25 or so people who witnessed it, including some industry types, gobsmacked.

Wasting no time whatsoever, Motor Sister – still basking in the afterglow of that momentous occasion – went into the studio with producer Jay Ruston and knocked out Ride in a couple of days, the organic spontaneity of those sessions emanating from earthy, soulful rockers like "This Song Reminds Me of You" and the sunny Zeppelin-meets-Sly and The Family Stone funk workout "Pretty in the Morning," as well as the swaggering, meaty riff bonanza "Get That Girl."

Reminiscent of the wild, frenzied punk fury stoked by the MC5 in their heyday, "A Hole" and "Fork in the Road" are conflagrations that burn hot and fast, while the hormonal urges of "Beg Borrow Steal" and "Little Motor Sister" – from which the new band's name was taken – have the crunchy, stomping appeal of early KISS or UFO. These old Mother Superior songs didn't need a kick in the ass, but Motor Sister gives it to them anyway, Tempesta's drumming breaking rocks in the hot sun, the sharply defined tones of the guitars rich and powerful, and the trailer-park desperation in the vocalizing of Pearl and Wilson recalling that of X's John Doe and Exene Cervenka, especially in a catchy little slice of up-tempo, Americana-inspired jangle called "Head Hanging Low." And then there's "Devil Wind," where strummed acoustic guitar lends a sense of mystery before giving way to grinding, rumbling metallic riffs, its dual personality, so vulnerable and angry, a vague harbinger of trouble on the horizon.

Hitch a Ride with Motor Sister, and let them take you to a place and time you thought had disappeared, an era when good, honest, simple songwriting and stacks of amplifiers delivered messages of sexual healing, lusty adventure and hard-earned life lessons.
– Peter Lindblad

In stores on March 11, 2015.
Metal Blade Records: Motor Sister

Keep calm and ask Alice Cooper

Alice Cooper - Super Duper
Alice Cooper 2014

New documentary on shock-rock icon comes with fan Q&A

Alice Cooper is coming to the silver screen. Hide the women and children, and the boa constrictors. 

Due to premiere at the 2014 Tribeca Film Festival, "Super Duper Alice Cooper" is a new documentary on the shock-rock superstar that's purported to be the first-ever "doc opera," combining animation, archival footage and rock opera tropes to tell the story of rock 'n' roll's first true villain. It will hit theaters nationwide beginning May 30. Here's a trailer:

Wanting to make the experience an interactive one, Cooper is compiling a pre-recorded "Keep Calm & Go Ask Alice" Q&A that will run following each theatrical screening. Fans are being asked to go to www.SuperDuperAliceCooper.com (click the "Keep Calm and Go Ask Alice" graphic) and ask the man himself whatever questions they want, as long as the submission period runs. He'll then handpick select questions and answer them via video. 

As for the film, it's another Scot McFadyen and Sam Dunn joint, those same guys from Banger Films that brought you "Iron Maiden: Flight 666" and "Rush: Beyond the Lighted Stage." It traces the career arc of a preacher's son who became Public Enemy No. 1 to parents nationwide as Alice Cooper, following his career from its freaky Phoenix roots through his band's groundbreaking, demented theatrics and into the destructive decadence of the '70s, which set the stage for his rebirth as an '80s glam-metal icon.

Iggy Pop, John Lydon, Dee Snider and Elton John weigh on the art and life of Vincent Furnier, a man who fought to overcome his demons, all while trying to maintain the image of his crazed alter-ego, Alice. 

For more on the movie, visit www.SuperDuperAliceCooper.com or www.facebook.com/SuperDuperAliceCooper. 

Looking for information on what Alice Cooper is up to, visit www.alicecooper.com, www.facebook.com/AliceCooper, or www.twitter.com/realalicecooper.

CD Review: David Bowie – The Next Day

CD Review: David Bowie – The Next Day

Columbia 

All Access Review: B+

David Bowie - The Next Day 2013

Nobody knows what The Next Day will bring, especially for the unpredictable David Bowie. His future uncertain, having turned 65 in January, Bowie has been adamant that his days of touring are behind him. And having reached retirement age, it begs the question: Is this Bowie’s last hurrah? From the title of his latest LP, it appears even Bowie has no idea. There is, after all, an incredible amount of ambiguity in those three little words.

Does it mean he plans on doing more recording and that he’s going back to work … well, The Next Day? Or, does it mean he’s moving on to another chapter in his life, one that doesn’t involve music at all? It could be he’s confronting his own mortality and wondering just how many “next days” he has left. Then again, maybe it’s simply a more artful and humanistic expression of that old Yiddish proverb that, when translated, says, “Man plans and God laughs.”

As far as the planning for The Next Day goes, Bowie and his co-conspirators had to chuckle at how successful they were in keeping word of this new record under wraps. The Conclave of Cardinals was conducted with less secrecy. When news arrived that a fresh Bowie record was imminent, it was met with expressions of shock and surprise. That it could possibly contain his most inspired work in ages was even more stunning, considering the parade of lackluster and unnecessarily difficult albums he’d released since Let’s Dance or Scary Monsters, the LP that seems to have provided the template of experimental accessibility for The Next Day.

Coming 10 years after 2003’s Reality – the successor to 2002’s Heathen – The Next Day finds Bowie as open and revealing about himself as he’s ever been, and that, in and of itself, is noteworthy for a man whose multiple personalities and masquerades – from that of the Thin White Duke to Ziggy Stardust – have played out on very public stages over the years. It should come as no surprise then that, amid the treatises on loneliness, regret and wrenching heartache, questions of identity should arise in the alien soundscape “Heat,” with its quiet, martial drums, mournful strings and melancholic acoustic guitar strum marching gently under wraiths of lightly corrosive feedback. Here, Bowie’s weary, confessional expression of confusion and despair mesmerizes, just as it does in the elegant, smoky torch song “Where Are We Now?” Gorgeously rendered with dark, lush piano and watery pools of electric guitar, it’s a number that’s wide awake at 3 a.m. contemplating the erosion of time and life’s little mysteries. Sleep is overrated anyway.

Darker and even more stylish, with seductive, irresistibly melodic contours and a streaming pace pushed along by smooth, taut bass, “The Stars (Are out Tonight)” shimmers like a glassy city harbor in the clear moonlight. And Bowie’s increasingly urgent vocals and voyeuristic, unsettling poetry heighten the drama and paranoia of an absolutely intoxicating song that could rank among his best, even if it does bear an uncanny resemblance to “China Girl.” Even Iggy Pop, however, would forgive the likeness. Like Scary Monsters, though, the classy, well-manicured The Next Day spikes its arty pop-rock punch bowl with the slightest traces of intriguing discord, the off-kilter vocalizing in “How Does the Grass Grow?” being one example and the slashing guitar playing off the melodic buoyancy of the title track being another. In “If You Can See Me” the track’s compelling stop-start funk movements and dizzying array of beats – straight out of Radiohead’s playbook – dive right into a rushing sonic flood, as Bowie’s delivery shifts from robotic malfunction and threatening aspect to an all-too-human pleading for salvation and recognition.

Rather clunky and clumsily executed, “Dirty Boys” and the dull, thudding “Love is Lost” are minor missteps, as is “Boss of Me,” with its sleazy saxophones and alarmingly low energy levels. The interminable sameness of “Dancing Out in Space” is hard to get though, as well. Nevertheless, even these flawed pieces have qualities that make them compelling. Essentially, The Next Day is a tour of some of the most interesting and exquisitely detailed aural architecture Bowie has designed in recent years, and when the serrated edge, swirling beauty and propulsive drive of “(You Will) Set the World on Fire” breaks through the door Bowie is redeemed. Bowie is fighting against the dying of the light, and he’s winning, despite any doubts he may have.

–  Peter Lindblad

Punk Rock Revival at Backstage Auctions

Jaw dropping punk rarities hit the auction block.

1977 Punk girl Ebet Roberts -  CBGB's

With well over 100 Punk-Rock lots, Backstage Auctions is celebrating a ten-year spanning era of anti-establishment music (1975 - 1985) that ultimately evolved in a subculture of expressive youthful rebellion, a distinctive fashion and a variety of anti-authority ideologies.

The majority of the Punk collection comes from Europe, where it was part of a traveling exhibition for years. Aptly titled 'I Punk, You Punk, We Punk', the exhibition focused on the correlation between music, fashion, art and design, where musicians and fans were equally photogenic. "Absolutely stoked" as Backstage Auctions owner Jacques van Gool puts it, who lived in Europe through the birth of Punk and was fortunate to experience it firsthand.

1976 Ramones at CBGBs - Signed Photo

"Saving Punk mementos was the last thing on your mind in those days. It was all about the experience and we couldn't be bothered with preserving a shirt or a poster. Seeing this collection makes me realize how unique and historically significant those years were".




As can be expected, the Sex Pistols have their middle finger strongly wrapped around the punk torch with nearly 30 lots that include an impressive parade of concert and promotional posters, t-shirts, cards and, yes, the infamous 'God Save The Queen' flag (God Save The Queen - Sex Pistols).

Sex Pistols 1977 God Save The Queen Flag

The Clash 1970s fully signed photo

Also present are desirable collectibles by legendary artists and bands such as Blondie, Dead Boys, Ramones, Patti Smith, Buzzcocks, Iggy Pop and The Clash, many of whom have already been embraced by the Roll 'n Roll Hall of Fame.

Exceedingly rare Destroy shirt 

There are few genres where fashion makes an equally strong statement as the music itself and Punk arguably is at the forefront of it all. And within that, Malcolm McLaren and Vivienne Westwood created the epicenter of the 'classic' Punk look through stores such as 'Sex' and 'Seditionaries'. One of the most prolific images is that of Johnny Rotten wearing a 'Destroy' shirt, which also is in the auction.

Debbie Harry - Blondie 1970s
rare collection of photo negatives

With a broad assortment of autographed items, posters, shirts, records, pins & buttons, photos, slides and negatives, the auction has something for everyone. Or simply put - 'Let's All Punk!"






Backstage Auctions' - 2012 Rock 'n Pop Auction is open for bidding November 3 - 11th, but is available now for previewing the entire catalog. VIP All Access Registration is free and only takes a minute or two.

View Now: Punk Rock Memorabilia

Book Review: The Stooges Head On

Book Review: The Stooges Head On
Author: Brett Callwood

Wayne State University Press, Painted Turtle

All Access Review:  B+

Sorting through The Stooges’ trash to dig up whatever dirt is left to uncover about the Ann Arbor proto-punks has become a sort of blood sport with rock journalists. By now, though, it would seem that every lurid tale of debauchery and mayhem involving Iggy Pop and the boys — especially, Iggy — has been told and retold to the point where nothing’s shocking with them. 

The whole ugly, unvarnished truth has been exposed, and if there is more out there hidden by the fog of time and fading memories, it probably wouldn't add much to a mangy mythology built on The Stooges' violent appetite for self-destruction. With the heart of a fan, then, author Brett Callwood, who is familiar with the terrain having written about the MC5, smartly rises above the fray with “The Stooges: Head On,” preferring to tell the band’s story without a great reliance on sensationalism, and that's to be celebrated. 

And it is The Stooges’ story that Callwood sticks to. This is not a band biography masquerading as an Iggy tell-all. In fact, Iggy’s part in this tragic-comedy is muted in Callwood’s book. Relying heavily on in-depth, and often very funny and insightful, interviews with both Asheton brothers, Ron doing his before he died in 2009, and all the other Stooges, including Iggy, James Williamson, Steve McKay, Mike Watt and Scott Thurston, Callwood paints a broad, graffiti-splashed mural that encompasses the band’s entire history without getting bogged down in unnecessary details. Other offbeat characters, underground journalists and Detroit-area musical revolutionaries, like the MC5’s Dennis Thompson make sure the weirdness never ends.

In drawing and developing fully realized portraits of each Stooge, Callwood doesn’t play favorites. His solid, substantive writing humanizes and spotlights every character in The Stooges’ epic, giving them all equal time. Callwood’s interest in The Stooges is undeniably genuine, as he dissects the recorded violent they put on wax and walks through the fists-flying riots they spawned in concert. He traces The Stooges' origins in bleak, rusted-out Michigan and follows each band member's life prior to The Stooges on through the band’s 1970s implosion and all the way through the post-millennial reunions. Of particular interest is the thorough excavation of Ron Asheton's musical adventures in Destroy All Monsters and the New Order, the post-Stooges' groups that he took part in to fill the void in the wake of the breakup. Perhaps no other Stooges' book has paid more attention to Ron, including the deep disappointment he felt in being replaced by Williamson on guitar for Raw Power.

While there is much to digest here, Callwood organizes the book in a free-flowing fashion that makes it an easy read. Much of the content is delivered in long, well-chosen quotes that, when pieced together with Callwood's light transitional touch, carry the story along like a fast-moving river current. A black-and-white photo section in the book's midsection seems like a dysfunctional family album, one awash in the white-trash environs that birthed the Stooges. And, even though Callwood doesn't dwell on the scary chaos that surrounded the band, he doesn't run from it either. There's enough violence, hilariously mean pranks and borderline insanity to fix any reader who comes looking for it. 

- Peter Lindblad

CD Review: Iggy Pop's Roadkill Rising: The Bootleg Collection 1977 - 2009

CD REVIEW: Iggy Pop's Roadkill Rising: The Bootleg Collection 1977 - 2009
Shout! Factory 
All Access Review: A

Pleading for quiet, Iggy Pop is having no luck convincing the crowd of mangy curs at Bookie’s in Detroit in 1980 to settle down and stop screaming. Worked into a frothy, rabies-infected lather, the audience, pressing dangerously against the stage, wants blood. They demand that Iggy and the band punch them in the mouth with the kind of grimy psychedelia and brass-knuckled garage rock his old band, The Stooges, used to dish out with violent glee. Iggy, on the other hand, is intent on serenading them with a soft, jazzy old standard, “One For My Baby (And One More For The Road)” written by Harold Arlen and Johnny Mercer and popularized by Frank Sinatra, of all people.

In the end, the stubborn and confrontational Iggy, spewing a stream of expletives amid entreaties for sanity, reason and safety, gets his way, and unexpectedly, he croons the song with great reverence. It’s one of the most disarming moments on the sprawling new four-CD, 66-track collection of unreleased Iggy Pop live recordings Roadkill Rising, setting them up for the kill that is the brawling, propulsive, furious ball of energy “Take Care of Me” from 1980’s Pop solo effort Soldier.

Spanning four decades of Iggy’s solo years, Roadkill Rising bulges with more than four hours of well-chosen concert audio – more than 60 tracks in all of Stooges and Iggy solo material, and a clutch of interesting covers – from some 20 different shows, like the four-song snippet from the show at Bookie’s, with its sweaty, intimate atmosphere, that includes a creeping version of “Nightclubbing” or Iggy’s performance at the huge Glastonbury Festival in England, where the classic Stooges’ growler “Down On The Street” is burned and beaten to within an inch of its life and “Real Cool Time” whips around in a cyclone of riffage.

Another in a series of “official” bootleg collections from Shout! Factory, which has featured artists like Emerson, Lake & Palmer and Todd Rundgren, Roadkill Rising might just be the cream of the crop. Stooges’ material such as “I Wanna Be Your Dog” and “Loose,” from Disc 2’s 1987 gig at New York City’s Club 1018, jump out of the speakers like a mugger from the shadows, while Iggy’s “Kill City” is a muscular, turbo-charged thrill ride and covers of the “Batman Theme” and “Hang on Sloopy” are fun-filled rock-and-roll romps that celebrate rock-and-roll’s past. Disc 1 sees Iggy digging into The Stooges’ past with seething takes on “Raw Power,” “1969,” “Search And Destroy” and “Gimme Danger,” and Disc 3 – from the ‘90s – presents a rousing survey of Iggy’s best-known solo work, with “Lust for Life,” “China Girl,” “Butt Town,” “Candy” and “The Passenger” rumbling menacingly and snarling with anger.

Iggy’s fingerprints are all over these recordings. Like other artists in the series, Iggy not only has given the collection his stamp of approval, but he’s also been involved in the remastering. And the sonic quality, tough, full-bodied and electric, of Roadkill Rising is pure Iggy. There’s nothing weak sounding or lethargic. Take “Corruption,” “Howl” and “The Jerk” from Disc 3’s 2001 Bizarre Festival performance in Germany.  The guitar wrangling is viciously clear, the stomping bass is thick and powerful and the drums hit like wrecking balls – as they all do throughout Roadkill Rising. Even comments, such as “Iggy is God” and other less complimentary utterances, from the peanut-gallery crowd come through loud and clear. The only drawback the set has is its packaging. Although the comic-book artwork is cool and the accompanying booklet features vintage photos, it lacks liner notes about how these bootlegs were found or even chosen for this collection. A minor complaint, though, as Roadkill Rising is a must-have for Iggy completists or anybody with a healthy respect for ballsy, take-no-prisoners rock and roll.

Peter Lindblad  

Artist Official Page: Iggy Pop

Shout! Factory Link: Roadkill Rising: The Bootleg Collection 1977 - 2009