Betsy - Betsy Album Review

Betsy - Betsy (1988)

Members:

Betsy 'Bitch' Weiss - lead vocals

David Carruth - guitar

Mark Anthony Webb - bass

Robby Settles - drums

Betsy is a studio album by Betsy Weiss and members of L.A. heavy metal band Bitch, released in 1988 on Metal Blade Records. Although the album was recorded by the same group as the previous two heavier, and S&M-themed, heavy metal albums, the band released this third album under the artist name Betsy, the name of Betsy Weiss aka "Betsy Bitch", their lead singer, and with a softer and more commercial sound. After the album the band reverted to the heavier sound and the name Bitch.

First Impressions:

Softer, more melodic, and more commercial. But still brilliantly "Bitch" like.

Firstly, for those of you who may not know who the band is, here is an overview for you. Bitch was formed in December 1980, and played their first show in May 1981 alongside Dante Fox (later to become Great White). Shortly after the band was formed, guitarist David Carruth met Brian Slagel, future CEO of Metal Blade Records, and the two became friends. Slagel was working on a compilation album to tie into a heavy metal fanzine he had started called The New Heavy Metal Revue, and offered to place Bitch on the compilation if they would submit a demo to him. This project would become the landmark compilation Metal Massacre (1982), which would become famous for launching the career of Metallica and for being the first album ever released by Metal Blade Records. Bitch's contribution to Metal Massacre was a demo version of "Live for the Whip", which would be rerecorded for their debut EP Damnation Alley.

I was 17 when this album hit and I was already a fan of their much more aggressive work under the name "Bitch", so the name change and style shift did take me a bit by surprise back then but I bought it anyway because to me regardless of the changes it's still at its core a "Bitch" album.Now then, many stories flow around this album to this very day, was it a conscious decision to go commercial? Was it label pressure? Was it religious groups or parents groups that forced the change? Honestly, I personally don't really care. What we got was an album that showcased a side of an already great band, a side with great writing chops and solid musicianship....but....is it as good as the 2 albums that came before it? Well, lets dig into this one track by track and find out. Let's do this.

1. You Want It You Got It 3:25

From track one you are introduced to a smoother presentation. The feeling this track conveys a very early Pat Benatar vibe, and that is never a bad thing. The guitar solo in it is top notch and simple for the time and Betsy's voice is tight and strong....a great opener for this album.

2. You'll Never Get Out (Of This Love Alive) 3:18

This was the first single from the album and one of my favorites from this album. Great musicianship and great production for 1988 on this one. It fits in very well for the time, which was the peak of the hair metal scene back in the day...great lyrics and a very competent presentation...and the video was cool too. If this song doesn't get you moving in some way, you are probably dead.

3. Devil Made You Do It 4:00

This bass intro always sounded like an iron maiden cast off to me, but its attached to an up tempo rocker. Although there is a bit of a Krokus feel to the main riff on this one. This is a much more polished song that would work on a previous album if you left some rougher edges...but on this album it gives it some validity and power. Not a bad track and worth the 4 minute investment.

4. Rock N' Roll Musician 4:13

This track has a feeling of mid budget direct to video action movie soundtrack...its a great little rocker that is a fun listen. Still a tightly produced track, but it shares a tonal quality of some of the christian metal bands of the day like Creed(german band) and messiah prophet...that echo tone gives that feeling, but I liked that, and this band does it better.

5. Cold Shot To The Heart 3:45

Nice marching rhythm, powerful vocals, soldiering riff....yep this is an 80's trope that doesn't get old. I really dig this track for all those things, and more. It's just a good little rocker with a strength to it...a put up or shut up type of song that really never really gets tired and old.

6. Flesh And Blood 2:50

Nice riff in this one...it is taylor made for radio. The melody this track holds really keeps the song feeling urgent yet catchy. This is another favorite of mine from this one with good reason, this type of track has always been my bread and butter, and make me feel a bit empowered when I hear them.

7. Turn You Inside Out 3:44

A softer start on this one, another 80's trope into a mid tempo chorus. The power ballad formula that some bands adhered to, even the heavier bands of the day used this one. This is a well done one, and the guitar solo serves this one so well. This track isn't flashy but it's as solid as steel. Great song in its own right.

8. What Am I Gonna Do With You 4:36

A slightly W.A.S.P.ish intro (a hellion feel), and maintains that feel through out, again that isn't a bad thing in my book, it was part of the scene back then and it just feels right. The heart of this song is the passion Betsy conveys lyrically...so much feeling and power. Kinda gives me goose bumps...one of the better songs on this album and that is saying something.

9. Stand Up For Rock 3:43

The obligatory rock anthem, big and boisterous, larger than life chant chorus...this is a good companion piece for Warlock's "Fight for rock" in my opinion. I love tracks like this, they just pump me up for this music. Makes me glad I'm a fan of this genre of music.

10. Sunset Strut 4:28

Well it's time for the slightly sleazy sounding song, another staple of 80's hair metal bands in the day. This one is a bit odd yet it's also rather appealing at the same time. This is a track that is better for its uneven feeling, kinda captures the discordant yet fun feeling of the LA sunset strip glam scene then...kinda makes me want those days back. But for all of that the real star on this one is Betsy's top notch vocals, they tie the whole thing together in one tight little package.

11. Get Out 2:55

A chugging rocker, a hard rocker, a good rocker. Not much really can be said about this one...it's a tight little track that fits into this album and fills a need for the package. This one is another one that could be rougher and fit on one of the previous albums as well. But it's here and it caps the album off nicely.

Conclusion:

Like I said earlier, this album was a surprise for me back in the day but over the years I warmed up to it even more. It really wears its LA heritage on its sleeve, all the nods to the scene and the tropes that were so common back then are in full effect and done very well here. With this album the band showed it was more than some gritty S&M themed band that crudely played their instruments and yelled in the microphones, they showed they were competent and talented musicians, and Betsy proved she had far more to give vocally than growls, screams, and barks...she had (and still has) range and power. Because I am a fan, this may be a bit biased as a review but I can't undersell this album when compared to the ones before it. In retrospect the band Bitch should have been much bigger than they were back in the day, but even now Betsy herself is still powering on with the band and doing it well. Now all I want is 2 duets from her and I could die happy...Betsy and Doro, and of course Betsy and Alice Cooper. Until then I'll just keep spinning the classics and recommend you do the same. This is a showcase album that I recommend highly, if you like 80's metal then this needs to be in your collection, if you are not sure about that era, this is a good album to start with.

Score: 5/5

KISS - Destroyer Album Review

KISS - Destroyer (1976)

Members:

Paul Stanley – vocals, rhythm guitar

Gene Simmons – vocals, bass

Ace Frehley – lead guitar, vocals

Peter Criss – drums, vocals

Destroyer is the fourth studio album by American rock band Kiss, released on March 15, 1976 by Casablanca Records in the US. It was the third successive Kiss album to reach the top 40 in the US, as well as the first to chart in Germany and New Zealand. The album was certified gold by the RIAA on April 22, 1976, and platinum on November 11 of the same year, the first Kiss album to achieve platinum. The album marked a departure from the raw sound of the band's first three albums.

First Impressions:

As a 7 year old...awesome. As a 48 year old...classic.

WARNING!!!

This review will be very much a fan boy thing...it will be honest but biased since I am a HUGE fan of the band...with that said....

1977 February, my mom, my dad, and myself set out for the mall in my dad's 1970 dodge charger. He slapped in the tape that was in is 8-track that just so happened to be KISS DESTROYER (he admittedly owned it for 2 songs, and was pretty indifferent about the band). During the 20 minute drive my ears were baptised by this great album that was nothing more than background noise to them but was a serious life changing experience for me. When we finally reached the mall I got out of the car on my dad's side still crudely singing the lyrics to the songs I heard...my dad giggled and said to my mom "looks like we have a KISS fan on our hands honey" as he continued giggling...a few months later that KISS was my very first concert as well...my dad was so very right, I was and still am a passionate fan of this band. Now enough storytime, let's dig into this thing track by track and see what I think now...let's do this.

1."Detroit Rock City" 5:17

The classic scenario intro, much conjecture tends to swirl around who the reporter is, I believe it's Gene but I could be wrong...however, a classic riff and then Paul's classic voice kicks in...the best front man ever in my opinion, energy and attitude in spades. The bass just walks around with it's own attitude too. Now I know there were various musicians on this whole album but you can't deny this track has power and still holds up.

2."King of the Night Time World" 3:19

Another great intro guitar riff that leads off from the climax of the previous track. Cool lyrics and more great musicianship on this one, this track just flows with personality and the pure spirit of rock. You can't say anything bad about this one...well I can't anyway.

3."God of Thunder" 4:13

A concert classic that rarely came off the set list. This song started at a much higher tempo and was sung by paul, the demo wound up first on the box set...but after a tempo change and some new lyrics became the theme of the demon himself. It's a power hungry song that just fits the character Gene has been evolving for 40+ years...he owns this one, and I love it.

4."Great Expectations" 4:24

A slower tempo track and the second one sung by Gene. The lyrics are trite and suggestive but still fun. This is one of the weaker tracks on this album and it reeks of what would be in Gene's 1978 solo album, but as trite as it is, it still has its charm. Not my favorite but still not too bad.

5."Flaming Youth" 2:59

A mid tempo rocker sung by Paul, I'm a bit more on the fence with this one too. Its got a great pace in the verses and a good feel but when it goes to the chorus, it feels out of place. Not a bad track by any stretch but it's a bit strange too.

6."Sweet Pain" 3:20

The song that had to be recorded with a guest guitarist. Dick Wagner was called in for this one since ace was too busy being drunk to record his solo twice. The song is a nice tempo and the lyrics are typical for 70's rock. It's a decent track but it is a bit discordant as to how it fits on this record sonically.

7."Shout It Out Loud" 2:49

The track that made me a fan, this is far and away my favorite on this album. It's obviously a group effort and it has everything that any rock fan to this day loves. This is a classic concert staple and watching Ace play that trademark solo live as a 6 year old made me want to play the guitar, which I do play.

8."Beth"2:45

The 'b' side of their first single "Detroit Rock City", this song started its life as a track Peter brought with him from a previous band called Chelsea. The track's original name was "Beck" and was from what I heard, about the guitarists girlfriend. It's an interesting demo if you ever get to hear it. This reimagining was definitely a producers project with all the orchestration and arranging. Can't deny how big a hit it was back then and how many people today know it. It's a great track in its own right, as ambitious as it sounds. I will admit, I do enjoy this one.

9."Do You Love Me"3:33

Another favorite of mine on this album. A straight ahead rock song with a ton of swagger and good musicianship. The hooks in this song are infectious and are just unforgettable. I can't deny this one at all, it's a prime example of this band back in the 70's and that is a good thing.

10."Rock and Roll Party" (Instrumental)1:25

A short, pointless track. It serves as a hidden closer and not much else.

Conclusions:

I wanted the best, I got the best...for the time. The band would go on to make better and worse albums in the coming decades but you can't discount the standing this one has as an all time classic. It made me a fan, and even if it isn't my favorite album of this band, I can't underplay its importance to my life and the lives of other fans. KISS has become an institution and a way of life for millions of fans world wide and the band itself worked and sacrificed for every one of those fans. I have had the honor of meeting every member this band has ever had at least once and It was a joy...but to the original 4 members, I thanked them for this album and all they did to make it. This album isn't perfect, but what it does, it does well.

Score: 4.5/5

Tool - Fear Inoculum Review

TOOL - Fear Inoculum (2019)

Danny Carey – drums, percussion (1990–present)
Adam Jones – guitar (1990–present)
Maynard James Keenan – vocals (1990–present)
Justin Chancellor – bass (1995–present)

Discography:
Undertow (1993)
Ænima (1996)
Lateralus (2001)
10,000 Days (2006)
Fear Inoculum (2019)

Salival (2000, Compilation) 
Opiate (1992, EP) 

Fear Inoculum is the fifth studio album by American rock band Tool. It was released on August 30, 2019, through Tool Dissectional, Volcano Entertainment, and RCA Records.

First impressions, 

Layered, spiraling, & hypnotic. An exhausting trip, but a welcome one. 

13 years is quite a wait for an album that most of us probably thought would never come out, but it finally did and boy oh boy was it worth the wait. Before I continue it must be said that Tool is one of those divisive yet popular bands in not only metal but music in general. Heavy yet extremely proggy at times, yet atmospheric and haunting at others. This album is no exception to that statement, in fact on the surface it can be seen as more of the same from this quartet of amazing musicians, yet if you really take this one in you start to notice all the clever layers and all the subtle connective tissue it has to all of their previous releases. This is an album that really takes you on a journey to places you didn't know existed, while keeping you grounded in all the nuances that is, and always has been Tool. Now I have read on social media as of late that this is just more of the same, or this is their worst album yet, or even on the flip side some have praised this album as the second coming of Maynard Jesus Keenan, I’m not going to say I think it’s their worst album but I won’t say it lives up to all the hype that this 13 year wait generated for its release, but one does have to consider Tool is going to be Tool and there are really no bad Tool records, so that being said let’s get down to this review. Instead of gluing this experience together in one overly chatty review, I'll go over the album in less wordy statements on a track by track basis. This will be more effective in conveying how this album pulled me around by the synapses and truly exhausted me in a good way...here we go. 

(This is for the 7 track physical version, not the 10 track digital, I'll touch on those 3 interlude tracks later on in this review) 

1."Fear Inoculum"10:20
Track one starts with an atmosphere builder, familiar rhythmic patterns and a slow build into the main focus on this album, the rhythm section of Danny and Justin. Adam's guitar work is more tonal than anything with tangents of erraticism. Maynard’s voice is typical Tool fare, understated and almost angelic at times with that typical Tool phrasing and charm through all the deep lyricism we have grown to expect from a Tool song. A great album track that starts the slow build to the albums crescendo while building into one of its own in the process. 

2."Pneuma"11:53
Another somber starter that starts off with more texture and sets an almost melancholy mood before deep diving into a very Tool like rhythmic progression, Maynard’s lyrics set a tone of slightly discordant psychology, the type of isolated genius that really worms into your mind. This track is a hypnotic spiral that grabs you by the brain and pulls you down into the depths with it whether you want to go or not. One of my favorites on this album for sure, it's layering and content are just jaw dropping in my opinion. 

3."Invincible"12:44
The thing with this album is the formula it sticks with, this song is no different, a somber and subtle intro that builds the mood then the build into the song proper. Danny's drumming, much like the rest of this album, is the centerpiece that this song is built around, Justin's bass work supports the rhythmic work and  Adam's guitar has moments of soaring over the song with both majesty and controlled viciousness, the landscape this song paints is one of simultaneous peace and chaos. One of the songs that shows its teeth but never uses them on this album. A nice midpoint on the album to be sure. 

4."Descending"13:37
Starting with an atmospheric soundscape of waves, this is a beautiful song in structure and content, Maynard’s  lyrics are thought provoking as usual, this is a mostly somber song and it really sets the pace for the second half of the album. The journey this song takes you on is one of desperation and triumph emotionally. It is a great transitional song for this album, and gets you ready for the conclusion of this monument of an album. 

5."Culling Voices"10:05
This album is a labyrinth of slow builds and somber moods, this track is no different in that respect, Maynard’s voice and Adam's simplistic guitar work start this track of in a haunting fashion that proliferates the whole song. The build on this song is riddled with false starts and clever musicianship that makes you think it is barely holding itself together at times, it's a song that has a barren landscape type of feel to it, an all alone in the wilderness vibe...then it starts feeling like a challenge the world type of song, it goes from pensive to demanding back to pensive to flat out angry more than once in the later parts of the song, all the while Maynard’s voice is being the one emotional constant all throughout the song. 

6."Chocolate Chip Trip" (instrumental)4:48
This is Danny's masterpiece, it makes you seriously think that Neil Peart has been replaced as the best drummer ever, the controlled chaos he brings to this very odd piece is the most aggressively technical thing I have ever heard. A great piece of sonic art, and a showcase of skill from an amazing musician. 

7."7empest"15:43
The album's crescendo and the most aggressive song on the album at its peak, this is the snarl song of the album, Maynard’s vocals are in bite mode, gritty and growling in his unique way, his lyrics are scathing and accusing, and they don't apologize at all for it. The music follows suit and really builds this album to an exhaustive high point that honestly, literally exhausts the listener who has committed himself to this album's journey. This is among their high points in musicianship and songwriting, it leaves you with a sense that you have been taken on a trip through the mind of a psychopathic genius and then dropped back off into your own head to deal with the consequences on your own. A first class Tool song if there ever was one. 

Conclusion, 

I refrained from comparing this album to their past releases for one main reason, Tool albums are individual experiences and comparing them would be to trivialize their effect on the individual listener, however with that being said, this album does have moments of connective tissue to all of their previous releases, on purpose or purely coincidental it is a nice little touch that ties Fear Inoculum to its predecessors. This is the definition of a headphone album, the subtlety and layers that the listener will notice on every listen will keep them coming back to hunt for new things that they didn't notice the previous listens, it's a somber affair with moments of anger and spite that integrates well with the atmosphere this album has in spades. The defining meter of this album is the skill that was woven into this album, Danny’s drumming and percussion work is the star of this whole album, his creativity is top notch and it shows through all the technically challenging work he put in, Justin is just as solid as ever and supports the foundation on this release flawlessly, even getting some time to shine himself, Adam’s textural guitar work is intermixed well with the albums overall feel, not too upfront yet not buried, he soars when he needs to and provides that push when it is called for, a masterful contribution from a talented guitarist. What can be said about Maynard? He’s a story all his own, he’s also the logical core of all his projects, but in Tool he is the Lynch pin everything attaches to. He is subtle, direct, haunting, accusatory, and emotional throughout this whole album and every album that came before it. His lyrics are insightful, venomous, melancholy, and introspective and he phrases things in such a unique, almost mathematical way, as most Tool fans know and usually love. 

The 3 extra songs on the digital release are simple instrumental interludes that serve the album in one major way, these tracks “Litanie contre la Peur”, “Legion Inoculant”, & “Mockingbeat” tend to be linking songs that convey the idea that this album is really just one very long song split up into several parts. These aren't essential for the album experience as a whole but they do fill in the blanks and make the picture more colorful. 

In conclusion, Fear Inoculum, although not a perfect album is a great excuse to immerse yourself in an album that will take you on a ride you will come back to again. This is Tool at their best and in my opinion was well worth the 13 year wait. 

Score: 5/5