Posts Tagged ‘Bruce Kulick’

Remembering Doug Fieger

It feels like any reminiscence of the late Doug Fieger, frontman for The Knack, should begin with a trip back through the mists of time to when I first heard “My Sharona.”

The problem, unfortunately, is that I haven’t a clue about when that might’ve been. It’s probably safe to presume that it was sometime in 1979, as it’s a song which quickly became so inescapable upon its release that even the Chipmunks covered it, but in ’79, I was a kid whose interest in and knowledge of music began and ended with whatever was played on top-40 radio, so while I remember hearing and enjoying the band’s follow-up hit, “Good Girls Don’t,” those two songs were the sum total of what I knew or cared about The Knack.

(As such, it would be years before I heard a version of the latter song where Fieger wasn’t singing “when she puts you in your place” rather than “‘til she’s sitting on your face.” Mind you, even if I had heard it when I was nine years old, I think it’s fair to say that my reaction would’ve been, “Yeah, I bet that would hurt!”)

A few years later, however, my next-door neighbor would give me an album that changed my life – The Beatles’ 20 Greatest Hits – and a short while after entering my full-blown Beatles obsession, I soon expanded my musical palate to include many bands who worshiped John, Paul, George, and Ringo at least as much as I did. At last, I could understand why so many people had been snatching up copies of Get The Knack back in the day, even if I couldn’t quite figure out…and still can’t, for that matter…why anyone could possibly have disliked the band enough to start a campaign called “Knuke the Knack.” The foursome of Fieger, guitarist Berton Averre, bassist Prescott Niles, and drummer Bruce Gary were a tight musical outfit, and while it’s a given that what one person may view as a loving homage can be easily seen by someone else as derivative tripe, these guys had – as the stock line goes – more hooks than a tackle box. The only reason I can imagine someone having a grudge against them is because they got tired of the band’s songs getting stuck in their head…but, then, I guess I’m a little biased, because, man, I love that album.

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The Popdose Guide to KISS

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Most people born before 1990 have some familiarity with the rock band KISS. Fans my age (44) remember the glory years in the mid- to late ‘70s, while younger fans remember the reunion tours of the mid-’90s, or bass player Gene Simmons’s A&E reality show, Family Jewels. Hand in hand with familiarity come opinions regarding the efficacy of the group: Were they just a glam band with a great marketing plan? Is their music any good? Or as my friend Debbie said, “They’re okay, but they’re no Scorpions!”

I’d like to help the non-KISS fan here to:

  • recognize the musical appeal of the group;
  • know which albums to embrace and avoid;
  • gain a greater appreciation for what KISS did for live rock ‘n’ roll performance.

By the same token, KISS did (and continues to do) ridiculously stupid things, and pointing out some of those foibles makes for good sport. So let’s begin at the beginning with the first three albums, released in 1974 and ‘75.

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Popdose Flashback: Michael Bolton, “Soul Provider”

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In Bull Durham, Kevin Costner’s character Crash Davis chides Nuke LaLoosh (Tim Robbins) for his laziness and lack of focus on the game of baseball. “You got a gift,” he says. “When you were a baby, the gods reached down and turned your right arm into a thunderbolt. You got a Hall-of-Fame arm, but you’re pissing it away.”

Likewise, when Michael Bolotin (later, Bolton) was born, the gods reached down and gave him lungs of reech Coreenthian leather—a multi-octave range, filtered through a gruff, almost sandpaper-like delivery. But saying Bolton can sing is like saying George Bush can speak English: big deal, what’s he done with it? The issue is context. His early solo work in the 70s was crap—miscast as a Joe Cocker wannabe, he tried his hand crooning stuff like “These Eyes” and “Time is on My Side,” with no particular distinction. His two-album stint as the lead singer of Blackjack was similarly underwhelming—muddy production and faceless instrumentation (by Bruce Kulick, Sandy Gennaro, and Jimmy Haslip, all of whom would go on to more distinctive work elsewhere) left the listener feeling damaged in some significant way.

No, it was shortly after Blackjack, 1983 and ‘84 to be exact, when Bolton found a niche that worked—that of the arena rock god. On both his self-titled ‘83 album and Everybody’s Crazy, which followed the next year, he was backed by flashy, hairsprayed sidemen, who provided the echoed drums and WEE-diddly-diddly gee-tar that helped put Bolton on the road, opening for Ozzy, Loverboy, and their corporate rawk brethren. In arena rock, he found a musical backdrop where his tendency toward histrionics fit, where it was even encouraged. Had he stayed with that style, who knows what might have become of him? He could be co-headlining with Poison this summer, or releasing a Journey-like comeback record through Wal-Mart. (more…)