Today we take a trip back to 1990 to a song off the Lights…Camera…Revolution! album by Suicidal Tendencies and a song that is one of my personal favorites, You Can’t Bring Me Down. Continue reading
Today we take a trip back to 1988 to Toledo, Ohio to a track from the band Damien from Toledo, Ohio off the album of the same name, Every Dog Has It’s Day. Continue reading
Today we venture back in time to the spring of 1988. It was a simpler time — the Soviet Union was on its way out, I had just uttered my first sentence (creepily enough, it was “I see the light”), and the Beach Boys were recording the most crushingly brutal single of all time. Despite the fact that several Kokomos already existed, The Beach Boys came together to write a song about a fictional, quasi-magical “Kokomo.” In this Kokomo, you can apparently get drunk and have sex in mid-air, but the man in the song still wants to take his lady to a bunch of mundane, real places for some reason.
“Kokomo’s” July 1988 release spurred a golden age of metal that persisted well into the ’90s. Dino Cazares was so inspired by the hellish tune that he formed Ulceration (now Fear Factory) with Raymond Herrera immediately upon hearing the record. George Fisher chose the nickname “Corpsegrinder” after Mike Love and Carl Wilson’s vocals on the hit single made him want to grind corpses. “Kokomo” so thoroughly outclassed every other metal single of its generation that Dokken, unable to deal with the pressures of competition, disbanded for several years. The themes of alcohol abuse, sexuality, and open defiance of the laws of physics did not go unnoticed by the Parents Music Resource Center, who called for its banning until the airing of season 2 episode 6 of Full House.
The Beach Boys remain highly influential, and “Kokomo” continues to enjoy popularity in brutal death metal circles. Below is the official video for the single — it is NOT for the faint of heart.
Today we take a trip back to 1982 to a band from Massapequa, Long Island, New York better known as Twisted Sister and their debut album Under The Blade released on Secret Records. Continue reading
Today’s installment of From The Vault takes us back to 1983 and to Motley Crue’s second album “Shout at the Devil.” The album is often regarded as the heaviest sounding Motley Crue album by both critics and fans with themes including sex, violence, drugs and rebellion. Side one begins with engineer Geoff Workman and Nikki Sixx’s narration for the introduction to Shout at the Devil:
In the beginning, good always overpowered the evils of all man’s sins, but in time, the nations grew weak and our cities fell to slums, while evil stood strong. In the dusts of hell, lurked the blackest of hates, for he whom they feared awaits you. Now many, many life times later lay destroyed, beaten down, only corpses of rebels, ashes of dreams and blood-stained streets. It has been written that those who have the youth, have the future. So come now children of the beast, be strong and Shout at the Devil.
Shout at the Devil reached #17 on the 1983 Billboard 200 chart and the album had sold over 4 million copies by 1997. Motley Crue released Looks That Kill and Too Young To Fall In Love as singles in 1984 along with videos for each song that received heavy rotation on MTV. The album is also one of the first albums that contributed to the glam metal movement.
Upon re-release of Shout at the Devil on their own label, Motley Records, the band included some never before heard tracks including demos of Looks That Kill, Shout at the Devil, Hotter Than Hell (which was re-recorded and re-titled Louder Than Hell for Theater of Pain) and Too Young to Fall in Love, as well as a song called I Will Surivie.
This album fell under scrutiny with the PMRC in the 80′s citing that Motley Crue must be satan worshipers. Nikki Sixx however, refuted the PMRC’s claims saying that the title of the album was not Shout With The Devil, it was Shout At The Devil. The album however does contain a warning that the album may contain masked backward messages because of Sixx and Lee trying to chant “Jesus is Satan” as an underdub on the title track.