Morning Final No. 3 HOT AIR the WORLD of by MELNE
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Morning Final No. 3 HOT AIR THE WORLD OF BY MELNE Well, surprise material contained G’day mates! It’s the MF Back-to-School issue, so included surprise...When on COE:TMY... here is our obligatory essay, What I Did On My Summer Vacation: we were since only half of Our two week excursion to the East Coast is detailed in the feature told it was live mate- article this issue. Our very special thanks go this time to our guest that rial. Come to artist Zeke Roeser, who provided his summer vacation activities for the EE CBS find out now EE cover. Also thanks to Rob Reich and Rick “C.C. Voodoo” Carroll for was releasing CBS is plan- their contributions and Laser Ray for Career Of ning to his photographic skill. TT TT Evil:TMY instead release ETL You’ll note the different, more con- of a CD release of after all, and sistent look in this issue, as we finally LL Extra Terrestrial you can look LL became computerized! What a God- Live, we were left for it to be send! Things should really start shap- wondering about released sometime ing up now: Keeping track of mem- the choice of around November. bership, tapes and videos, and every- thing else will be a lot easier now. (Now I can hardly believe the way I used to assemble this magazine!) The usual plethora of frivolous in- formation is contained here—in case you’re ever invited to a BÖC-version of Trivial Pursuit you’ll have a wealth Hey Joe! Whadaya of information from which to Hey Joe! Whadaya draw....So, get to it and turn the page! Know?Know? Looking for love in all the wrong places Bolle at the Öyster Bar in New York The Cult Brothers are, as I write this, in Myrtle Beach, South Carolina playing a six-night-stand at a place on the beach called Rock Burger—sink your teeth into that one! They plan to work hard on a lot of new songs, playing new ones every night so that when they return they can go into the studio and start recording a Cult Bros. al- bum! After hearing their demo tape I can hardly wait to hear this col- lection of new songs they have up their sleeves. Motions/ Searchin’ singles For Celine (CBS- 5889), in 1978 Godzilla/Nosferatu bar by Bolle (CBS-6278), in late 1978 We Gotta Get CBS records in Europe differs from other record companies there. Out OF This CBS Sverige (that’s Sweden to you utländers), bought the factory that Place/Kick Out The manufactures records, and positioned it in Holland. From there they Jams (CBS-6760). It could distribute/sell their products at a cheaper price to the Scandi- then took seven years navian market, i.e. Sverige, Danmark and Norge (Norway) and to some before the final CBS release of Dancin’ In The mid-European markets such as Holland itself, Belgium (the French Ruins/Shadow Warrior (CBS A-6962) was re- speaking part, however, got their distribution from France), Österreich leased in December of 1985. Yes I’m dis- (Austria), Helvetia (Switzerland), and Luxemburg. All eight countries all mayed by CBS totally ignoring BÖC during sold the same pressings which read Made In Holland on their sleeves. the releases of Mirrors, Cultösaurus Erectus, Germany kept their own independent pressing plants. Thanks to this we Fire of Unknown Origin, ETL and Revölution did get a slight but almost indistinguishable difference in look between By Night and finally Imaginos. Nothing at all the German and Holland issues. The only distinctively different sleeve on the 7” format....can you believe that they is the Goin’ Through the Motions single, on which the picture has a failed to put out Burnin’ For You?!?! One fuller image for the German issue. curious question, How did CBS expect BÖC Pictures show the five different Holland issues and the one German to have any hits when they didn’t put out any singles? Boy am I glad Motions variety. I still think they’re all great about our Cult finally being rid of these ZEROS. sleeves, which keeps me from understand- ing the void of BÖC releases on 45. One thing that bothers me is the lack of promotion on the European scene. During my record collecting life, CBS has put out an enormous amount of singles on their art- ists. For BÖC, there seems to have been a major exception. Overlooking the output, I’m outraged by finding the total over all the years to be only a handful of releases. In 1976, Don’t Fear The Reaper/Tattoo Vampire (CBS- 4483), in 1977 Goin’ Through The JOE'S GARAGE.. ..JOE'S GARAGE The Cult Bros. recorded an excellent demo tape last year in Love’s A Killer, another Neal Smith/ Dennis Dunaway song September which includes a selection of original songs and an old was written around the same time Smith and Dunaway were in Billion BÖC tune. Co-produced by Joe and Paul Orofino, whose credits Dollar Babies in 1975-76. Joe re-wrote the music for the song in include work with Blues Saraceno, Leslie West and Jack Bruce, the 1982. This song appears on the Deadringer album and it is also tape was recorded at Millbrook Sound Studios in Connecticut. included here in a much better version by the Cult Bros. This is a very Their tape starts off with Wild Ones, a Dennis Dunaway/ Neal strong song, a ballad, with a great melody hook in the chorus...one of Smith/ Joe Bouchard composition. This song was originally submitted those songs that stays with you after you’ve heard it only once. The to and demoed by Alice Cooper for the Raise Your Fist And Yell vocals are impassioned as is the playing...The guitarworks are flow- album. Unfortunately the song was not chosen for the album, and now ing—the choice of notes played is right on the mark. This song has got to be my favorite, although it does have stiff competition from Wild Ones or the next song, which is: Hot Time In Hell is a helluva lot of fun! A quirky keyboard melody begins the song along with a devilish laugh from Joe. This is a light hearted lyric and a buoyant, untroubled mood (considering the grave situation of the lyrics). In this song Joe’s singing sounds so much like brother Albert’s it’s amazing! This song shows the humorous side of the band...so to Frank Zappa’s question “Does Humor Belong In Music?” I reply a resounding YES! Jody Gray, a New Haven song- writer (Johnny Winter, Ray Charles) and producer (EZO), sent a tape of this song to Joe who liked it immediately and worked up an excellent version of it with the Cult Bros. Gray has completed another collab- oration with Joe called “Deadman Walking” which we’ll hopefully get to hear in the near future! Tattoo Vampire is the last song of their demo, and is the tough- est to judge because of its facing such heavy competition from the best and most powerful version contained on the Agents of Fortune album. Bolle and Joe with their New Kids on the Block bootleg tape collection! Although Eric Bloom’s vocal is unsurpassable, Joe’s delivery gives a new face to the song: that quiet beautiful-but-haunting quality that Alice has found Desmond Child and therefore doesn’t need our guys earmarks songs like Nosferatu and Light Years Of Love. Tattoo stands any more. Wild Ones is an galloping song with freight train rhythm— as one of the heaviest moments for Blue Öyster Cult and the Cult Bros. a real exciting beginning for the tape or for a live show. It conjures up give us a second look to the song—like two suit jackets of the same images of wild west cowboys both musically and vocally. Where was styling—one made of velvet the other of leather. this song in the Young Guns movie? The only problem with this tape is that it ends too soon. The Run To The Sun’s lyric is penned by our favorite man-of- quality of songwriting here is top-notch. Joe has always had a special strange-words R. Meltzer. This lyric was submitted to BÖC at about touch with his compositions, and his band are able to coax a lot of the same time as Burnin’ For You. Once titled Hot Desert Sand, this passion and feeling out of the songs showing a real sincerity lacking was demoed by Joe in 1981 with different music and now finally gets so severely in the music world today. I would like to hear a lot more its chance with a subtle treatment from the Cult Bros. from Joe and the Cult Bros. I THINK I SLEPT WITH JACKIE KENNEDY LAST NIGHT! Imaginos band when the project was still Albert’s solo album. …life with the roaches and the David Roter Method… Appearing on Bambo are Albert (credited as S.W. Underbelly) on drums and vocals; Rigg on guitars; the Del-Lord’s Manny Caiati on Described by Creem Magazine as an eccentric genius, David bass; Charles Giordano (Buster Poindexter, Pat Benatar), keyboards; Roter is in fact a New York street life comedian-turned-rock’n’roller. Tommy Zvonchek (PiL, BÖC), keyboards; Bruce Brody (ex-Patti Smith As a friend of Sandy Pearlman, David was introduced in the late six- Group), keyboards, Ritchie Flieger (John Cale), guitar and bass; and ties to the Soft White Underbelly.