Here's something you might be interested in.
Ask a Hipster — Advice you didn't know you needed
Big Screen — Movie commentary
Blurt — Music's inside track
Booze News — San Diego spirits
Classical Music — Immortal beauty
Classifieds — Free and easy
Cover Stories — Front-page features
Drinks All Around — Bartenders' drink recipes
Excerpts — Literary and spiritual excerpts
Feast! — Food & drink reviews
Feature Stories — Local news & stories
Fishing Report — What’s getting hooked from ship and shore
From the Archives — Spotlight on the past
Golden Dreams — Talk of the town
The Gonzo Report — Making the musical scene, or at least reporting from it
Letters — Our inbox
Movies@Home — Local movie buffs share favorites
Movie Reviews — Our critics' picks and pans
Musician Interviews — Up close with local artists
Neighborhood News from Stringers — Hyperlocal news
News Ticker — News & politics
Obermeyer — San Diego politics illustrated
Outdoors — Weekly changes in flora and fauna
Overheard in San Diego — Eavesdropping illustrated
Poetry — The old and the new
Reader Travel — Travel section built by travelers
Reading — The hunt for intellectuals
Roam-O-Rama — SoCal's best hiking/biking trails
San Diego Beer — Inside San Diego suds
SD on the QT — Almost factual news
Sheep and Goats — Places of worship
Special Issues — The best of
Street Style — San Diego streets have style
Surf Diego — Real stories from those braving the waves
Theater — On stage in San Diego this week
Tin Fork — Silver spoon alternative
Under the Radar — Matt Potter's undercover work
Unforgettable — Long-ago San Diego
Unreal Estate — San Diego's priciest pads
Your Week — Daily event picks
Alice Cooper's tired album
Billion Dollar Babies gives us nothing
Billion Dollar Babies by Alice Cooper is a tired album. Serving as a perfunctory follow-up to School's Out, it continues the group's pre-occupation with elemental muzak. A backdrop for Cooper's theatrics. In the context of live performance. the supportive position can be justified, since the act is dependent on Alice's contorted mannerisms. But putting the technique 'to record produces boredom thick enough to cut with a sharp knife. Removed is the hard rock that made Love It To Death and Killer interesting. The flashes of the old style are present. but you have to sit through a lot of prefab gibberish to get to it. What remains is dear Alice bellowing about rape, infant sexual fetishes, necrophilia and other subjects not for mixed company. Alice has said that his music has no over-all meaning. It would be a blessing if he and his funny boys would stop accentuating the meaningless and figure: ~ut what else they are capable of. Billion Dollar Babies gives us nothing which hasn't been beaten to death before.
Ker·CHUNK!! Humble Pie is at it again, bashing their way into our hearts with yet another collection of kick-ass rock and roll remarkable only for its fundamental luck of taste, Pie has never been renowned for their taste. but their lack of artsy pretension and their insistence on having fun gave them a charm other heavy metal bands lacked. Eat it, though, tells all in the title. There is some excitement in the four sides given us, but large portions prove indigestible. The best of the four sides is the second, which amounts to vocalist Steve Marriot donning black face and paying tribute to the rhythm and blues tradition. Seems that ol'' Steve has found a song form strong enough to sustain his often extraneous inflections. Ike and Tina Turner's "Black Coffee" is up front shout all the way, but it has power. Ray Charles' "I Believe to My Soul" lacks the nuances of the original, but Marriot remodels it to suit his needs and succeeds, "Shut Up Don't Interrupt Me" is minor key soul cliche done for what it was worth. and "That's How Strong My Love Is" manages not to sound like an Otis Redding ripoff. A trio of black singers called the Blackberries give a strong. feminine texture, adding color to Pic's one-dimensional charts. dimensional charts.
Everything else is heavy-metal backwash. Side one is kerchunk guitar pounding, side four is spiritless in concert rabble rousing. Side three is ballads, with Marriot crooning as if one of his lungs had been removed.
When guitarist Peter Frampton made his exodus from the group, Humble Pie lost an essential element which kept them bearable. Eat It shows the straining of Marriot 's macho vulgarity. Unrestrained, the Pie becomes just another bunch of punks blowing their noses with amplified handkerchiefs.
Here's something you might be interested in.
Alice Cooper's tired album
Billion Dollar Babies gives us nothing
Alice Cooper's tired album
Billion Dollar Babies gives us nothing
Billion Dollar Babies by Alice Cooper is a tired album. Serving as a perfunctory follow-up to School's Out, it continues the group's pre-occupation with elemental muzak. A backdrop for Cooper's theatrics. In the context of live performance. the supportive position can be justified, since the act is dependent on Alice's contorted mannerisms. But putting the technique 'to record produces boredom thick enough to cut with a sharp knife. Removed is the hard rock that made Love It To Death and Killer interesting. The flashes of the old style are present. but you have to sit through a lot of prefab gibberish to get to it. What remains is dear Alice bellowing about rape, infant sexual fetishes, necrophilia and other subjects not for mixed company. Alice has said that his music has no over-all meaning. It would be a blessing if he and his funny boys would stop accentuating the meaningless and figure: ~ut what else they are capable of. Billion Dollar Babies gives us nothing which hasn't been beaten to death before.
Ker·CHUNK!! Humble Pie is at it again, bashing their way into our hearts with yet another collection of kick-ass rock and roll remarkable only for its fundamental luck of taste, Pie has never been renowned for their taste. but their lack of artsy pretension and their insistence on having fun gave them a charm other heavy metal bands lacked. Eat it, though, tells all in the title. There is some excitement in the four sides given us, but large portions prove indigestible. The best of the four sides is the second, which amounts to vocalist Steve Marriot donning black face and paying tribute to the rhythm and blues tradition. Seems that ol'' Steve has found a song form strong enough to sustain his often extraneous inflections. Ike and Tina Turner's "Black Coffee" is up front shout all the way, but it has power. Ray Charles' "I Believe to My Soul" lacks the nuances of the original, but Marriot remodels it to suit his needs and succeeds, "Shut Up Don't Interrupt Me" is minor key soul cliche done for what it was worth. and "That's How Strong My Love Is" manages not to sound like an Otis Redding ripoff. A trio of black singers called the Blackberries give a strong. feminine texture, adding color to Pic's one-dimensional charts. dimensional charts.
Everything else is heavy-metal backwash. Side one is kerchunk guitar pounding, side four is spiritless in concert rabble rousing. Side three is ballads, with Marriot crooning as if one of his lungs had been removed.
When guitarist Peter Frampton made his exodus from the group, Humble Pie lost an essential element which kept them bearable. Eat It shows the straining of Marriot 's macho vulgarity. Unrestrained, the Pie becomes just another bunch of punks blowing their noses with amplified handkerchiefs.
Comments