WHITFORD/SAINT HOLMES: REUNION

(MAILBOAT RECORDS/PASCO MELVIN MUSIC; reissue 2016, original release 2015)

During the recording sessions for Aerosmith’s NIGHT IN THE RUTS, the excesses fostered by the 1970s Rock and Roll lifestyle (primarily perpetuated by vocalist Steven Tyler) had taken their toll: Joe Perry exited before the album was completed, with his stage-right counterpart, Brad Whitford, following him out the door after nearly two years of inactivity and in-fighting. Derek Saint Holmes had been “let go” from Ted Nugent’s band at least twice between 1975 and 1978 because… well, because he wasn’t Ted Nugent; while the ‘Smith fell apart in 1979, Derek formed Saint Paradise, releasing an excellent record before hooking up with the newly bandless Whitford for 1981’s WHITFORD/SAINT HOLMES album. With another album recorded and ready for release, the project was (seemingly) shelved permanently when Brad returned to a presumably clean and sober Aerosmith and Saint Holmes went back for another round of abuse from Uncle Ted. Now, three-and-a-half decades late, the pair have come together again to clean up a little unfinished business. That unfinished business has manifested in the form of REUNION.

WHITFORD/SAINT HOLMES (Derek Saint Holmes, Brad Whitford) (photo courtesy: STRAIGHT 8 ENTERTAINMENT)

REUNION is exactly that, with the two living in the same town just outside of Nashville, Derek and Brad got together and started writing at least an album’s worth of new songs. And what a fine record it is, drawing on a combined 80-plus years of rockin’ experience. “Shapes” kicks things off nicely, offering all of the best parts of the namesake’s previous bands – Aerosmith, Ted Nugent and Saint Paradise – with none of the excesses (the drugs, the loincloths, the over-the-top frontman). The guys still sound great together and Saint Holmes hasn’t lost the vocal prowess that made so many of those early Nugent records (and, indeed, the sole Saint Paradise release) so memorable. Surrounding themselves with a group of like-minded players (bassist Chopper Anderson, drummer Troy Luccketta and keyboardist Buck Johnson) is also a plus, with Luccketta’s presence, in particular, paying immediate dividends, as the drums crack and pop, adding just the right amount of heavy bounce. A bluesy little slice of Americana, “Tender Is the Night” finds Saint Holmes doing his best Bob Seger. The guitars jangle and shine, while Johnson’s keyboards and Anderson’s bass take the tune to completely unexpected heights. This song could easily be a hit on Classic Rock or Country (yeah, I said it!) radio, making it an early favorite. On “Rock All Day,” a dirty “Hooligan’s Holiday” guitar riff leads into an ‘80s hair metal groove featuring a wicked slide part. For some reason, Derek’s vocals remind me of Steve Walsh’s Kansas heyday. With Motley Crue and Kansas musical references tossed into the mix, this one is some really good stuff!

WHITFORD/SAINT HOLMES (Brad Whitford) (photo courtesy: STRAIGHT 8 ENTERTAINMENT)

“Hot For You” is a slice of Stones-style Rhythm and Blues that hits on Brad’s Aerosmith ancestry more than anything else so far on this album. More of that magnificent slide guitar, a boogie-woogie piano from Johnson, a memorable hook and some funky horns all add up to another great tune. A power ballad, “Hell Is On Fire” brings to mind certain MTV juggernauts like Snookie and… just kidding! Those juggernauts would be late ‘80s/early ‘90s Aerosmith and Uncle Ted’s super-group, Damn Yankees, with this song’s lyrics coming closer in feel to that band’s Tommy Shaw. Derek also recalls the melody to one of Saint Paradise’s better tunes, “Jesse James.” On “Catch My Fall,” pounding drums and chiming guitars lead into a track that reminds me of Pat Benatar for some reason. It’s probably the most disposable number here and, having said that, maybe one of the tunes most likely to be a radio hit.

WHITFORD/SAINT HOLMES (Derek Saint Holmes) (photo courtesy: STRAIGHT 8 ENTERTAINMENT)

Steve, is that you? “Shake It” is the most Aerosmith-sounding track on the album, right down to Saint Holmes’ vocal histrionics and phrasing. As guitarists, neither Derek nor Whitford have lost any of the sting for which they’ve been known and, this is not a bad little tune, with some nice piano and a killer drum groove (a la Joey Kramer on “Rag Doll”). With its infectious, funky groove, “Gotta Keep On Movin’” could have been the follow-up single to Ray Parker Junior’s “The Other Woman,” or at least the B-side. Chopper Anderson and Troy Luccketta really shine, as do Derek’s vocals; the song also features one of the best solos on the entire record. “Flood of Lies” is another big Rock song. So big, in fact, that it could be mistaken for an outtake from ROCKS. The number is led by Buck Johnson’s organ and fueled by the singer’s passionate performance. Saint Holmes spent so much time as Nugent’s side man that it has caused many to miss (or dismiss) just what a powerful voice he possesses and, like a fine wine, he seems to have improved with age.

WHITFORD/SAINT HOLMES (Troy Luccketta, Chopper Anderson, Brad Whitford, Derek Saint Holmes, Buck Johnson) (uncredited photo)

It took almost 35 years for these two men to reconnect in any sort of creative way. As far as I’m concerned, it was well worth the wait. This reissue revisits that first record with a bonus disc featuring a remastered version; as a small, gentle reminder of how Derek and Brad sounded in 1981 with a quick rundown of the cuts on WHITFORD/SAINT HOLMES…

I Need Love” kicks things off. The song is anthemic and poppy; very much a product of its time. “Whiskey Woman” has turned out to be the record’s most enduring number, an AOR staple then, a Classic Rock radio staple now. “Hold On” is your standard-issue marketable pop ballad with a bouncy New Wave groove, courtesy of drummer Steve Pace and bassist Dave Hewitt. “Sharpshooter” is a muscular, Sammy Hagar style rocker that woulda done really well on the fledgling MTV network. “Every Morning” takes the best parts of the two previous cuts and tosses in an absolutely massive drum sound. “Action” is a power-pop sorta thing that’s actually pretty good, if a bit repetitive. Columbia Records chose “Shy Away” as the record’s first (and only) single, though I’m not sure it was ever officially released (even if it was given a catalog number). It’s a great piece of (Greg) Kihnsian pop. “Does It Really Matter?,” like much of the record, is an AOR/pop anthem. In a bit of a departure for the duo’s debut, “Spanish Boy” is a nice slab of hard rock. “Mystery Girl” continues in the same vein. In fact, it’s probably the hardest rocking track on the entire set. It’s a very nice way to close out a pretty solid ‘80s rock album.


RICK DERRINGER: RICK DERRINGER’S ROCK SPECTACULAR

(ANGEL AIR RECORDS; 2009) A REVIEW FROM THE VAULTS

Rick Derringer

Alternately called LIVE AT THE RITZ, NEW YORK – 1982, this album features Rick Derringer and his then-current band performing some of his best tracks and being joined by several guest artists to play a couple of their’s. The sound has been called “raw” and that works as well as anything to describe a nearly 30 year old show remastered from a video source. It has its faults but, that’s part of the charm.

Rick Derringer (uncredited photo)

Rick Derringer (uncredited photo)

Things kick off in fine fashion, with one of my favorite Derringer (the band) songs, “EZ Action” from IF I WEREN’T SO ROMANTIC, I’D SHOOT YOU. Rick and the boys in the band (Alan Merrill, sharing guitar licks with Derringer; Donnie Kisselbach on bass; Jimmy Wilcox on drums; Benjy King on keyboards) are obviously having fun. This thing ain’t called RICK DERRINGER’S ROCK SPECTACULAR for nothin’, though, as Karla DeVito (you know… the girl who wasn’t on BAT OUT OF HELL but appeared in all of the accompanying video material and toured with the Loaf for several years) joins the band for “Cool World,” from Karla’s album, IS THIS A COOL WORLD OR WHAT. The song is one of those B-52’s/Cyndi Lauper kinda new wave pop things that sounds a little quirky played by a solid-state rock ‘n’ roll band, but they pull it off. Nothing, however, can save “Just Like You,” a ballad from the same album. I guess every album or show has to have one cringe-worthy moment and this fits the bill perfectly!

Karla DeVito, Southside Johnny (video stills)

Karla DeVito, Southside Johnny (video stills)

Next up is Southside Johnny Lyon, who brought his harmonica but left his Asbury Jukes behind. Southside Johnny may be the only musician from Asbury Park, NJ who is worth even a second look. Check out the voice and harmonica on Big Joe Turner’s “Honey Hush” (it’s called “Honey Rush” in the artwork) and the Eddie Boyd blues workout “Five Long Years” if you doubt the veracity of that comment. Probably the most well-known (one might say “infamous”) of all of Rick Derringer’s songs is “Rock and Roll Hoochie Koo,” first recorded on the JOHNNY WINTER AND record in 1970. It has one of the coolest riffs in rock history and I’m not certain if Derringer can ever play live without at least referencing that riff (I’m fairly certain that his family Christian group won’t touch those lyrics with a 10… make that a 50 foot pole!). The version here is… serviceable. I don’t know what the deal is with those backing vocals, but they sound like they borrowed the guys from Spinal Tap to faux heavy them up.

Carmine Appice, Tim Bogert (video stills)

Carmine Appice, Tim Bogert (video stills)

For two glorious studio albums (and one live release), the band Derringer featured Vinny Appice (pronounced Ap-puh-see) on drums. So, of course, what would this show be without a little Appice? Carmine Appice (pronounced A-piece), Vinny’s big brother, brings his former Cactus and Beck, Bogert and Appice bass-playing partner, Tim Bogert, along to do “Have You Heard,” a riff-loaded track from Carmine’s then-new ROCKERS album. With Derringer (and, one would assume, Alan Merrill) supplanting Jeff Beck on the guitar parts, they rip into “Lady” from BBA’s one and only studio album. Probably one of the coolest thing about Carmine is the fact that he can utterly beat the crap out of his kit AND sing lead. Before “Lady” he mentions that instead of Jeff Beck, the song’s going to be played by “Derringer, Bogert and Appice,” a band that actually came to official fruition nearly 20 years later.

Ted Nugent (video still)

Ted Nugent (video still)

As is Carmine’s wont, he tends to take things into his own hands. So, rather than Rick announcing the next guest, Carmine does the honors. As Appice mentions, he had just finished a tour with Ted Nugent (in support of the NUGENT album, which featured Carmine on drums) and the Motor City Madman – alongside Derringer, Appice and Bogert – rips into an impressive, if a little ragged, version of “Cat Scratch Fever.” That group sticks around for a funny-car-fueled take on the Chuck Berry classic, “Oh, Carol,” with Ted on lead vocals.

Alan Merrill (uncredited photo)

Alan Merrill (uncredited photo)

It’s back to the Rick Derringer band for the yet-to-be-released “Party At the Hotel” from Rick’s upcoming album, GOOD DIRTY FUN. To be perfectly honest, the guest performers were fun and the interaction with Derringer was nice to hear but, the three songs with just Rick, Alan, Benjy, Jimmy and Donnie are just a notch or two above in energy, excitement and delivery. The big “let’s bring everybody back out” number to finish the set is – next to “Rock and Roll Hoochie Koo” – the other number for which Rick Derringer will forever be remembered: “Hang On Sloopy,” a song that a 17-year old Rick Zehringer took to the top of the charts with the McCoys in 1965. Even with the “everybody solo” feel, this is one time that everything (and everyone) was hitting on all cylinders. A good way to end the evening and this disc. Are there rough spots along the way? Certainly. Do they detract from the music and the vibe of the performance? Not really. Is RICK DERRINGER’S ROCK SPECTACULAR worth owning? Absolutely!