The Saint Still Marches.

Posted in Music with tags , , , , , , , , , on October 10, 2016 by A handfull of napalm

The fact that Symbol of Salvation did not do for Armored Saint what the Black album did for Metallica is an injustice to Heavy Metal. Scratch that, the fact that “Rein of Fire” isn’t getting as much mainstream rock radio love as “Enter Sandman” STILL DOES is a disservice TO ROCK N ROLL. Symbol of Salvation has the groove of Appetite era Guns N Roses, the traditional twin lead attack of classic Metal bands like Iron Maiden and Judas Priest with the guitar crunch of vintage Metallica. Essentially, it’s the record that Avenge Sevenfold has been trying to make since 2005’s City of Evil. Although A7x  has sold more records than Armored Saint they have yet to make an album as good as Symbol of Salvation.

Armored Saint had spent the 80’s working their way up the music business ladder, paying their dues and so forth; Armored Saint were hoping that Symbol would be the album to take them from being a respectable metal act to the big time arena headliner status. So when that didn’t happen it must have taken the wind out of their sails. By 1992 vocalist John Bush left Saint for Anthrax where he the chance to bat a few innings in the majors. It also led to Armored Saint going on an extended hiatus.

Close to ten years after the release of Symbol Armored Saint regrouped to record Revelation.Since then, whenever inspiration hits, and the guys have a break from their other projects/dayjobs Armored Saint records a few new songs and does a little bit of touring. In 2015 Armored Saint released their newest album Win Hands Down.

Armored Saint play Heavy Metal. Not gonna Technical Deathcore trash, Dubstep Doom, Pagan Industrial Melodic Grind or any similarly silly nonsense. What you get instead is pure unadulterated no bullshit Heavy Fucking Metal. Win Hands Down is no exception to the Armored Saint rule. The band sounds solid as fuck and John Bush still sings his raspy throat off.  Hearing John  Bush sing always makes me happy. John Bush is one of my favorite Metal singers and in my opinion he’s the best singer Anthrax ever had (although Belladona is still cool as fuck). To me, Bush is what James Hetfield could have been if he hadn’t let his ego get in the way of his singing.

To me what stands out about Wins Hands Down is the lyrics. These the words of grown ass men. Men who have lived life and gone through highs and lows and all the bullshit in between. No fantasy dragon shit or cheesy Satanic imagery. Just real life shit. the lyrics on the album can be hard and they can be serious but they are done with a sense of humor. There is a song called “That was then, way back then” which gives you an idea of what the vibe is like on the album. So the 21st Century version might be old and cranky. And they probably spend a little too much time talking about the old days after having a few drinks. But the Saints are still Marching and they can STILL deliver.

Sympathy For The Critics

Posted in Movies, Uncategorized on August 22, 2016 by A handfull of napalm

After watching a few trailers for the Suicide Squad movie I was pretty stoked. It appeared as if DC/Warner Bros FINALLY got the memo. That what worked on the Watchmen IS NOT going to work ON EVERY FUCKING COMIC BOOK MOVIE. That it’s cool to be dark and gritty and serious as long as you don’t forget that COMIC BOOK MOVIES ARE SUPPOSED TO BE FUN. Then came the bad reviews….


I’m not the one to let bad reviews prevent me from watching a movie. Or start some dumb petition bitching that Rotten Tomatoes  was ‘unfair’ to Suicide Squad, that shit is just silly. Still, I was surprised to discover that (infamous so bad it’s genius cult movie)  The Room has a higher percentage on rotten tomatoes did raise an eyebrow. I couldn’t help but wonder: Is Suicide Squad THAT bad?


After watching the movie I had to admit that the bad reviews I read raised some valid points. The trailers were better than the actual movie.  The people who made Suicide Squad took what is a pretty cool premise (The Dirty Dozen with Supervillains) and micromanaged it into mediocrity. It is a given that every action/comic book hero needs an interesting villain to play off. Otherwise you’d be stuck in a shitty Steven Segal movie…So you figured that a movie in which the villains are the protagonists that they would have some superbadass mecca villain to defeat. But nooooooooo they had to find a way to fuck that up. I have to agree with pretty much every review I’ve read that the main villain in the movie (the Enchantress and her bother Incubus) are WEAK AS FUCK and that Ghostbusters knockoff showdown at the end was complete and total bullshit.

Another thing that was weak was the writing. The movie barely bothers to place all the members in the same room before it expects them to go on a mission, work as a team and act as some sort of misfit family. I’m all for suspension of disbelief and rooting for ‘the bad guys’ but a little bit of pacing goes a long way.The dialogue in the movie was every bit as wack as that boomerang guy whose only purpose in the movie was to be a dumb Australian stereotype. If I had a dollar for every time the movie felt obligated to tell the audience that the members of the Suicide Squad ‘were the bad guys.’ I could have gotten my ticket reimbursed.

There were some things I did like about Suicide Squad, Viola Davis being one of them. Ms. Davis completely owns that shit as Amanda Weller, the one bad mothe-hush yo mouth who comes up with the Suicide Squad idea. She is to Suicide Squad what Ernest Borgnerine’s character was to the Dirty Dozen. Her performance is an indicator of what the Suicide Squad could have been if it was allowed to live up to its potential. Margot Robbie is on point as Harley Quinn. She gets into it, looks the part and tries add some  much needed humor and personality into the movie. But like Hugh Jackman with Wolverine before her Ms Robbie is being held back from showing what she could do with the character. I don’t often s eye to eye with Rolling Stone magazine (in print or online) but agree with the article David Fear wrote in which he argues that Harley Quinn is the best thing about Suicide Squad and its biggest missed opportunity. I sure hope they don’t fuck up that rumored Harley Quinn movie. It’d be cool watching her and the Joker go all Mickey and Mallory. If it’s done right.

I don’t get why the Suicide Squad movie goes through all the trouble of reintroducing the Joker (arguably the best known comic book villain) and hyping Jared Leto’s performance ONLY TO HAVE HIM IN A SUPPORTING ROLE. Especially when the main villain turned out to be such a fucking dud. Just thinking of the royally wasted opportunity aggravates me. Imagine this: The Suicide Squad is sent to stop the Joker’s latest scheme while competing with a pissed off Batman. Meanwhile Harley Quinn gets to be the wild card who plays both sides…That sounds to me like a Box Office Bulls-eye. HOW COULD THESE PEOPLE MISS WHAT WAS SO FUCKING OBVIOUS?

I’m on the fence about Jared Leto’s performance. Even with all the tattoos , shiny suits, silver teeth and method acting stories it still feels as if he’s pulling an o.k. Heath Ledger impersonation. On the other hand the times Leto’s Joker is on screen he does provide some of the maniacal energy the trailers promised but the actual movie sorely lacks.  Maybe if he was more screen time he could have further developed his own take on The Joker. From what I read there were plenty of Joker moments left on the editing room. Maybe enough to show Leto finding his own groove as ‘Mister Jay.’

If there is a lesson to be learned here, it is that bad reviews are not the end of the world. I was still able to enjoy (to some extent)Suicide Squad despite agreeing with most of the bad reviews. I’m that I enjoyed the movie more because of the bad reviews. The lowered my expectations enough to almost overlook the fact that the Suicide Squad movie didn’t live up to what the trailers promised.  I know it’s tempting to hate a critic when they trash a movie you love (I’ve been there) but critics are people too. They’re merely giving their opinion on a movie. You don’t have to agree with it. Wanting to shut down Rotten Tomatoes over a bad review just makes you look like a dick. The main difference between them and you and your friends is that critics get published and (usually) paid.


Once you made that money it costs more now…

Posted in Music, Uncategorized with tags , , , , , , , , , , , , , on August 5, 2016 by A handfull of napalm

The latest Guns N Roses tour started a war between my Current Self and my Adolescent Id:


Current Self: You know that isn’t a real guns reunion.

Adolescent Id: But at least DJ Ashba had the decency to FINALLY step down.

CS: But it doesn’t have Steven, Izzy or even Matt.

AdID: But it has the three most important members. You know…Axl, Slash and Duff. Did I mention Duff was in?

CS: Why the hell does Axl have two keyboardists in the band?

AdID: I wish I knew. Did I mention Duff is now rocking a Prince sticker on his bass?

CS: Tickets are too expensive.

AdID: Did I mention Duff was back in the band?

CS: Enough with the Duff shit.

ADID: Fuck You Man!! Duff Mckagan is my spirit animal

CS: But it ain’t gonna be as cool as this:

ADID: Nothing will ever be that cool.

CS: Is it really worth all the money and hassle? Finding parking, dealing with people, having to choose between paying way too much money or settling for nosebleed seats?

ADID: If you don’t go you’ll regret it.

CS: Fuck you

ADID: You know i’m right.

CS: You suck.

AdID: Did I mention The Cult was opening?

CS: I hate You

I caved in and went to the Guns N Roses show in Orlando. My Current Self never stood a chance. GNR is after all, one of my favorite bands. I still think Appetite For Destruction is one of the best Rock albums anybody has ever made. I still love the Illusions records despite all the pretentious ballads. “Dust and Bones.” “Bad Obession,” “The Garden”…there are some cool songs on them two albums. The Spaghetti incident was one of the albums that steered me into the world of punk rock. I even have a copy of Chinese Democracy although I’m not too crazy about the album.

Shiiiit! I saw Slash’s Snakepit in 1999 for  9 bucks (or a similarly ridiculously cheap amount…it’s been a while) at the Orlando House of Blues with some 200 other people. Saw Duff Mckagan’s Loaded at some beach bar in Jacksonville FL. I saw Velvet Revolver six times and STILL tell anybody who listens that Velvet Revolver was one of the best bands I ever saw live. I even caved in and watched Axl’s version of GNR once despite years of bitching that it ain’t GNR without Slash or Duff. The only GNR related project I didn’t care for is Slash’s band with Myles Kennedy. I’m sure Myles is a decent guy and all but he sounds like a constipated Chris Cornell fumbling through GNR karaoke night when he sings. He also has about as much personality onstage as a jaded bar band singer.

Objectivity went out the window the night of that show. I didn’t care who got fat or if Axl was hitting all the high notes. If Slash was fucking up  his parts I wouldn’t know. If the drummer was fucking up it escaped my mind. As soon as Duff started playing the bass-line to “It’s so Easy” all that shit didn’t matter. I was singing along and  stomping and headbanging like nobody was watching. The Adolescent Id was runnin thangs.


There were a few times when my Current Self attempted to get the upper hand. The set-list did lean a little too much on their longer songs and ballads. It would have been cool to hear more of the heavier stuff like “Perfect Crime,” or “Back Off Bitch” or even “Pretty tied up.” But I got to hear them play motherfucking “COMA” and I’ve always had a soft spot for “Civil War.” Then there was the moment in which the excessive guitar wanking between Slash and second guitarist Richard “I can pass for Izzy Straddlin” Fortus came close to ruining “Knocking on Heaven’s Door”. When they were done with the silly wanking they immediately tore a new asshole into “Nighttrain” and all was forgiven. For the life of me I could not figure why would GNR decide to cover an ok Who song (The Seeker) instead of playing “My MOTHERFUCKING Michelle” but as soon as Slash busted the opening riff to “Paradise City” and the fireworks starting to go off everything made sense in the world.

One More time around….

Posted in Movies with tags , , , , , , on July 5, 2016 by A handfull of napalm

When I heard that early 90’s movie Point Break was being remade I was confused. I thought the movie had been remade already coughTHEFASTANBDTHEFURIOUScough. Whenever I hear that some assholes are trying to remake a movie that I loved since I was a kid I worry. When I read that the guy (Kurt Wimmer) who wrote the script for the Total Recall remake was going to remake the script for Point Break I REALLY worried?


Did the people who hire this guy SEE the Total Recall remake? That movie is a textbook example of everything THAT IS WRONG with most contemporary Hollywood remakes. They took the name of one of Arnold Schwarzenegger’s most entertaining movies and replaced it with a watered down sort of watchable (once) sci fi movie with a few wink wink references to the original film.

When I saw the trailer for the new Point Break movie all it did was reinforce the reservations I had about it.  After watching the trailer and reading all the bad reviews the movie got I was pretty certain I was going to hate it. I felt confident that I didn’t need to watch it to know that it sucked. But I was lying to myself. I DID  need to watch it to see if the movie was as bad as I imagine it would be. Which is exactly what I did as soon as I saw a copy of it at the public library.

Wimmer did an arguably better job with Point Break than with Total Recall. At least Mr. Wimmer managed to mostly stick to the basic premise of Point Break unlike whatever that new Total Recall movie was. Unfortunately, the filmmakers still made the rookie mistake with Point Break 2015 that so many remakes make: assuming that by doing everything on a bigger scale, fancier stunts, bigger explosions and so forth that you will automatically have a better movie.

Everything on the new Point Break movie has to be taken to THE EXTREME!!!!! Being President masks wearing bank robbing surfers isn’t ‘extreme’ enough to cut it in the new Point Break. Apart from mandatory WINK WINK  homage scene that is. The Surfing Ex Presidents are replaced with a group of EXTREME POLY ATHLETES  on some ridiculous worldwide (because having a surfing/action movie take place mostly in southern California is sooo 1991 Dude!) quest for enlightenment called the Ozaki 8. A quest that happens to include acts of robbery and eco terrorism. Never mind, that the Ex Presidents in the original were ALREADY sort of ‘poly amorous athletes’ themselves. That term poly athlete wasn’t really used back then (the original Point Break came out some five years before the first X Games) but those guys were also into sky diving and football and any sort of thrill seeking physical activity outside of surfing and robbing banks. Instead of robbing banks to support their unusual lifestyle the poly guys in the new Point Break (unfortunately they lack a cool group name like the Ex Presidents) live off some rich asshole ‘sponsor’ for reasons that the movie fails to elaborate on. The new Point Break, also (out of obligation) includes a surfing scene but instead of the beach (since that’s sooo 20th century) they decide to surf IN THE MIDDLE OF THE FUCKING OCEAN for no reason other than to one up the original. .  The scene looked about as dumb as it reads on paper.

On the original Point Break, Johnny Utah (played by Keanu Reeves) was an all American ex college Football player fresh from the FBI academy and thrown into his first assignment. The new Johnny Utah is a world famous Poly Athlete who after a tragic accident decides to ditch the Extreme Athlete life to join the FBI. Another big distinction is that the new Utah is an FBI agent CANDIDATE.He doesn’t become an actual agent until near THE END of the movie. Yet for some reason, the FBI is A-o.k. with sending some kid who is kind of sort of but not really an FBI agent on some worldwide mission because he came up with a theory linking the (nu X Presidents) with the  Ozaki 8? These people are asking a lot when it comes to suspension of disbelief.

Making the new Utah some kind of  polyamorous extreme athlete from the get go ruins the vibe of the new Point Break. A big part of what was cool about the original was that Utah was a complete stranger to this world. So as Utah discovered this world of surfing, bank robbing and skydiving so did the audience. For the new Utah stepping into familiar territory as if it’s no big deal makes it a little harder for the audience to be engaged.

On the original Utah’s handler/partner Angelo Papas was played by Gary Busey (in one of his most memorable roles) who came up with the theory of the EX Presidents being surfers. Which led to Busey’s character Papas and Utah bonding as they engaged in the investigation while dealing with ridicule and red tape from the FBI. The partnership between Pappas and Utah was one of the things that drove the movie. But by having Utah come up with the theory of the Ozaki 8 instead of Papas it rendered the new Papas, played by Ray Winstone useless. Winstone is a great actor but he’s not given much to do in this movie other than look angry and collect his paycheck.

Another character that is wasted in the remake is the female love interest. On the original Point Break the female love interest  Tyler (played by Lorry Petty) teaches Utah how to Surf and introduces him to  Dirty Surfing Patrick Swayze. But since the new Utah was already a part of this world and it was Bohdi not Tyler who rescued Utah from being wiped out during the wink wink surfing homage scene, the new female love interest (who goes by the name Samsara) is just kind of there on the few scenes she has. It’s a shame since Tyler did play such an important part on the original.

Did I mention  that the new Utah is REALLY SHITTY at his job? Apart from being able to sort of profile the villains in the movie he doesn’t do much in the way of actual ‘investigating.’ He stumbles into Bohdi and his crew practically by accident. The original Point Break Utah juggling between working the case and hanging out with his newfound buddies. There is even the classic scene  in which Utah targets the wrong surfing criminal gang. The new Utah on the other hand forgets about his day gig and runs away with the circus for half the movie.

The new Point Break also makes the same fatal mistake the Robocop remake made: it tries sooooo hard to be taken seriously that it comes off corny. Forgetting that this type of movie IS SUPPOSED TO BE FUN. The new Point Break is 8 minutes shorter than the original yet it feels like the longer film. Sure the new Point Break looks good and the action scenes and stunts are well executed. Except for using CGI on some stunts. That shit was lame.  I’ll even admit that flying suit scene looked pretty cool but the movie still fucking drags. It spends too much time stressing over weak dialogue and tedious dramatic shit with not enough ACTION to compensate for the boring parts.

Not only is the new Utah kind of dumb ass but the Nu X Presidents come off as pretentious assholes with hipster beards and tattoos. They might do their share of thrill seeking shit but all the flight suits and fancy snow cabin parties in the world can’t hide the fact that these guys aren’t much fun to be around. The guy that plays Bodhi is a decent enough actor but isn’t given much of a story arch. On the original Point Break Patrick Swayze goes from friendly surfer dude to raging sociopath/potential  cult leader in the span of two hours. The new Bodhi goes from being a quiet moody asshole to…a quiet moody asshole by the end of the film. You also never see Utah bond with Bodhi truly bond the way they do in the original. So when the big scenes where Utah shoots the air instead of Bohdi it comes off more as a WINK WINK homage than a memorable scene. Shiiit Hot Fuzz did a better job recreating that particular scene.


I might joke about it all the time bu it doesn’t change the fact that the first fast and the furious film was a better Point Break remake than the ‘official’ remake. Unlike the current remake fast and The Furious managed to capture a similar as the 91 Point Break. It was also able to slightly compensate for its lack of originality, wooden acting and weak dialogue by being ‘fun.’ One big difference is that Vin Diesel plays his  sort of villain/adversary character more like a protective older brother than a surfer dude guru. He also doesn’t get killed off/lose his shit like Swayze’s Bodhi did at the end of Point Break. Which left the door open for an entire franchise that has little concern fort physics or gravity.


The new Point Break has more in common with a different Vin Diesel film. XXX to be exact. The one in which Vin Diesel plays an Extreme sports athlete/tv host who is ‘persuaded’ by ‘The Man’ to be a Super Spy. Secret Agent Diesel infiltrates a hip mercenary group who look like the Eurotrash offspring of the Spectre agents from the Sean Connery Bond movies. Except that they  would rather hang out at loud clubs than fancy casinos. So the man needs somebody like Vin Diesel who can infiltrate into this sort of world. Like the new point break XXX tries to mixes Extreme sports stunts with conventional action sequences and a tendency for negro please moments. XXX was better though. It had Samuel L Jackson as M. People like to make fun of Diesel’s ‘acting’ but the guy does have a certain bonehead charisma that seems to work for what he does. That’s more than can be said about that one lead guy on the new Point Break movie

Getting It Right

Posted in Music, Uncategorized with tags , , , , , , , , , on June 10, 2016 by A handfull of napalm

During last year’s record store day, I received a free copy of Sixx Am’s: Modern Vintage bonus ep. Previously, I wrote how despite being a die hard fan of Motley Crue and most of bassist’s Nikki Sixx and other musical projects (58 and Brides of Destruction) Sixx Am does nothing for me. I blame it on a combination of vocals that sound too whiny to my ears and music that ranges from generic radio rock to pretentious music theater bullshit. I also sort of reviewed Sixx Am’s Modern Vintage CD without bothering to listen to the entire record. I figured even if the music sucked, anything that took time away from guitarist Dj Ashba Cleveland steaming  what little fun and dignity was left in Axl Rose’s (hired) Guns N Roses (his other gig at the time) was a very good thing.

I still gave the EP a fair listen but I can’t say it did much to change my opinion of Sixx Am. James Michael’s voice still gets on my nerves. Their attempt at a dance rock song (Let it Haunt you) was embarrassing. INXS they are not. They took one of the singles of the Vintage album (Stars (cinematic) ) and turned it into a fucking Taylor Swift song. ‘Cinematic’ has to be some kind of code word for cheesy.

I was surprised that there was one song on the EP that did not make me want to punch babies in the face and throw them at random little old ladies. It was the acoustic version of Modern Vintage single “Gotta Get It Right.” That surprised the fuck out of me since I’m not a fan of the album version of the song. In hindsight what ruined the studio version for me were the overbearingly obnoxious back up vocals. Everything else I could have dealt with.

Underneath all that bullshit hid a decent acoustic ballad. SHIIIIT, If I was producing that record I would have just added some percussion, a bassline and called it a day. In order to ‘get it right,’ sometimes less is more effective.


The Music Video Struggle

Posted in Music, Uncategorized with tags , , , , , , , , on May 28, 2016 by A handfull of napalm

The video for Betsy’s (the artist formerly known as Bitch) “You’ll never get out (of this love alive)…


…and Betsy’s (the artist currently known as Betsy Bitch) “Turn You Inside Out”…



…looked like they were made on the same day in the same soundstage. This is understandable when you are a band of limited resources. Their record label Metal Blade was  back then(and remains) one of the biggest independent labels around.  Meaning they could put a decent amount of money behind a band but not the amount somebody like say Columbia Records could. Back in those days (late 80’s) YOU NEEDED a professional looking music video in order to get on MTV,  sell records and be part of the hit making machine. You couldn’t get away with what that O.K. Go band is known for and  make a music videos with cheap digital equipment riding a treadmill and shit. While watching these two Betsy videos not only do I suspect that they were made the same day but I wouldn’t be surprised if they were filmed in the same soundstage Lizzy Borden’s video for “Me Against The World.”



Both Lizzy Borden and Betsy were signed to Metal Blade Records back then. So it is possible that the label had a specific soundstage/director/production team that most bands were forced to use. Or that they rented this particular place for X amount of days and wanted to get as much use out of the place as possible.

The biggest difference between the three videos is that the Lizzy Borden video tries to cram as much band members, fancy platforms, musical equipment, etc in front of every camera. More than likely in an effort to duplicate the feel of the cover of the album (Visual Lies) the band was promoting at the time. The one that has a silver colored Lizzy Borden popping out of a television set. So everything is IN YOUR FACE. The Betsy videos take a more traditional approach and place all the band’s equipment way in the back. Thus giving the band more room to run around and do their Rock Star moves.

But what if all three videos were filmed ON THE SAME DAY. That while Ms Betsy was playing with her crystal ball Lizzy Borden and crew were trying to decide which shade of silver lipstick to use. That while Lizzy was doing his closeups Betsy and her band were changing from wardrobe on video number one to video number two. Teasing Lizzy Borden’s hair on the “Me Against the World” video  had to have taken hours. Hours that could have been used to film two extremely similar looking videos. It is possible.



Ace Frehley: Origins vol 1

Posted in Music with tags , , , , , , , , on May 13, 2016 by A handfull of napalm

Good cover albums can be fun to listen to (Hollywood Vampires) or an outlet for musicians to explore wacky concepts while creatively reinterpreting other people’s songs (Tory Amos’ Strange Little Girls). Now shitty cover records tend to be weak, thinly disguised attempts to nickle and dime dedicated fans (Vince Neil’s Tattoos and Tequila) or fucking train-wrecks (Danzig Skeletons.) On Origins Vol 1, ‘Space’ Ace Frehley seems more concerned with having fun than making any sort of serious artistic statement. Apart from his rendition of “Street Fighting Man” in which he replaces the Stone’s original groove with something closer to the 80’s metal sound of Frehley’s Come, Ace doesn’t stray too far from the original arrangements. Ace also has a solid band backing him up. A band that includes drummer Scott Coogan who also handles the vocal parts on Cream’s White Room and Zeppelin’s “Bring it on Home” that are outside of Ace’s vocal range.

Ace also gets a little help from his friends. Lita Ford does some singing on “Wild Thing. ” John 5 plays guitar on a few songs. Slash even does some guitar dueling with Ace on their version of Thin Lizzy’s “Emerald”. Although they’re not as in sync as Lizzy guitarists Scott Gorham and Brian Robbo Robertson it’s still cool hearing Slash and Ace, two guys used to being the only lead guitarists in a band situation trade licks.

The biggest surprised guest of them all is without question Ace’s former Kissmate Paul Stanley. After all the drama leading up to the Kiss Hall of fame nomination a few years back. Refusing to even do ONE SONG with the original Kiss lineup. Shit talking that included Paul writing in his biography that Ace and (original drummer) Peter Criss were  anti Semitic. So despite all that bullshit, Paul Stanley decided: “Sure Ace I’ll sing Free’s Fire and Water on your album.” I officially do not get these people.

Speaking of Kiss Ace ‘covers’ three Kiss songs on this record. Two of which (Parasite and Cold Gin) are songs he wrote for the band but didn’t sing on the original studio versions. In a way it is nice to have studio versions of those songs with Ace singing. While the third (Rock n Roll Hell) is off Creatures of the Night. You know, the album Kiss was working on when he quit the band in the 80’s. The one Ace didn’t really play on despite being on the (original make up wearing) cover.

I will admit that I wasn’t very thrilled at the idea of an Ace Frehley covers album. I found his previous album Space Invader to be a let down. Especially, when compared to the album before that (Anomaly) which to me, was the best thing Ace had done as a solo artist since the 78 record. Despite not being 100% in love with Space Invader I’m still glad that after a 20 year gap between solo records (89’s Trouble Walking to 2009’s Anomaly) Ace is recording and releasing new music on a more regular basis. Sobriety seems to be agreeing with Ace. Ace hasn’t been this productive since the 80’s and he sounds great. Despite my reservations I gave in and got the album. I guess Kiss still has that much of a hold over me. I’m just relieved that I like the album and I don’t have to hate myself for buying it out of some fucked up sense of loyalty.



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