Wednesday, September 21, 2011
TheAlarm.com: The First 16 Years
I was web master for http://www.thealarm.com for over 15 years. In that time, the web site has changed immensely: from a single page with news and rumors, to a fully dynamic web community. As I was writing this story, a couple thoughts occurred to me. Mike Peters and MPO had the foresight to get into the internet very very early. Their first site was also one of the first sites dedicated to a musician on the internet. The story of the multiple sites and how they evolved is also the story of how the internet itself has evolved in the past decade. However, there are more stories here than just that. There is also the very personal story of myself, developing these sites and growing-up from a rank amateur to full-fledged web professional and developer. However, but more importantly, it’s the story of how Mike Peters, a true survivor of the music industry and cancer, has grown and sustained his career by leveraging the internet at every turn. Long before MySpace.com, YouTube, and iTunes, Mike Peters (with a little help from his freinds) had been using the 20th century’s most important communication revolution in ways that few before him had even thought possible.
Monday, January 24, 2005
Close, The Alarm, And U2: The Words I've Been Holding In For Too Long
The song “Close” was released for review in the UK in mid-December 2004. It’s little late in the album cycle for “In The Poppy Fields”, and without a single to sell in the stores, it’s kind of a wasted effort. Still though, it’s nice to see The Alarm MMIV get some press, even though it’s not really the kind that does the much good. Why? Because reading through most of the reviews of the single (Google '"The Alarm Close" review' to read what I mean) you might think it was 1986 all over again. With a new U2 album out (the satisfyingly but light mega-hit "How To Dismantle An Atomic Bomb") the same year as a new Alarm album (the unsung adventurous comeback "In The Poppy Fields"), comparisons have arisen again. Almost every review, good or bad, says "Close" sounds like U2. It’s funny though, because if you asked any one of those people to tell you the specific U2 song “Close” sounds like, they probably could not. Why? Because, really, it doesn’t sound like U2 at all. It sounds like an idealized burst of rock and roll , ardent in its obvious love for the medium, while gripping with simple lyrics of yearning and hope. It’s what people think U2 “should” sound like, but have not for many years now (sorry, not even on their new album). Furthermore, “Close” has none of the signature guitar sound of U2 or even much of Bono’s vox style. It sounds more like a cross between Icicle Works and Echo And the Bunnymen, shouted from the roof-top of decaying building somewhere in the dystopia of cold-war Europe. Funny though, that "Close" was written in 2001, long before the current U2 album was even being considered…but then that's not really the point. The point is, The Alarm and U2 have never really much sounded the same. They were friends and confidants with similar ideals who played guitar rock at time when it was patently unfashionable to do so. They might have affected each other in various ways, but that the influence was definitely not a one-way street.
Tuesday, June 1, 2004
E3 : Extergaming
E3 Exergaming
E3 2004
By Steve Fulton
(Originally published on Gamerdad.com)
Exercise and gaming.
Ever since Nolan Bushnell introduced the first arcade dance-game through
Bally/Sente in 1987, the very idea of getting exercise while playing video
games has enthralled people like myself, who get bored after 30 seconds on an
exercise bike, and can’t get to the gym on any consistent basis, yet could play
video games all-day everyday.
While there have been dance pads, and other devices that
have incorporated exercise and gaming in the past, E3 this year seemed to take
this niche to another level. One huge
segment that I glossed-over, and wish I had not, were “drum” games like Donkey
Konga. Since these games only use a drum
as a controller, and don’t force players to move their fat behinds, I did not
include them here, but rest assured, exercise can ber obtained fro, those
devices, as well as the following ones.
E3 Embraces The Classics
E3 Embraces The Classics
E3 2004
By Steve Fulton
Originally published on Gamerdad.com
E3 2003 was a huge disappointment for me. It was my first time attending, and I my hope was to see all the cool new games, but at the same time, view some of the vast array of classic compilations that were starting to pop-up with amazing frequency. As well, the newly formed Atari (Infogrames) would be there, showcasing why they had changed their name to that of world’s first great video game pioneers. It looked like a bonanza for a classic gaming fan like myself. However, it was not to be. Besides a few trading-card based classic games for the GBA, there were almost no golden-age games at the show. Atari's booth (as this year) was closed to the public, and I could not find a way to worm my way in. E3 it seemed was simply a show-case of tired, me-too 3D games with little room for innovation or reverence for the truly amazing game of the past. It was waste of my time, and a missed opportunity. I wasn't even sure I would ever attend the show again.
E3 2004
By Steve Fulton
Originally published on Gamerdad.com
E3 2003 was a huge disappointment for me. It was my first time attending, and I my hope was to see all the cool new games, but at the same time, view some of the vast array of classic compilations that were starting to pop-up with amazing frequency. As well, the newly formed Atari (Infogrames) would be there, showcasing why they had changed their name to that of world’s first great video game pioneers. It looked like a bonanza for a classic gaming fan like myself. However, it was not to be. Besides a few trading-card based classic games for the GBA, there were almost no golden-age games at the show. Atari's booth (as this year) was closed to the public, and I could not find a way to worm my way in. E3 it seemed was simply a show-case of tired, me-too 3D games with little room for innovation or reverence for the truly amazing game of the past. It was waste of my time, and a missed opportunity. I wasn't even sure I would ever attend the show again.
Thursday, January 1, 2004
Review : Demon Star Secret Missions : PC
Demon Star: Secret Missions 2
PC
By Steve Fulton
“A frantic, kinetic 2D shooter unequaled on the PC platform”
Scott Host of Mountain King Software has been making
shooters for the PC since 1993 with Galactix. He followed that game up with the amazing
(for it’s time) Raptor: Call Of Shadows and a few years ago
with Demon Star. All
of these games featured sumptuous 2D graphics mixed with some of the best
scrolling shooter action since Xenon 2: Megablast on the Atari ST and
Amiga. Obviously, the commercial market
for a 2D scrolling shooter is not what it used to be, so Host went independent
a few years ago, and never looked back.
Demon Star: Secret Missions 2 and both of it’s prequels are pretty much
unequaled on the PC when it comes to scrolling shooters. These games have everything you would want if
you are hankering for classic 2D game play, and don’t know how to satisfy the
hunger: dozens of enemies, tons of bolt-on weapons, boss-battles, multiple
scrolling environments, and most notably, Multiplayer action. You can play with a friend on the same
computer, or even over a network.
Review : Big Mutha Truckers : PS2
Big Mutha Truckers
PS2
By Steve Fulton
(Originally published on Gamerdad.com)
Slam The Hammer Down, Blow The Doors Off This One And Give It A Big 10-22
To a 7-year old in 1977, Star Wars was the coolest thing ever conceived. The second coolest thing was Evel Knievel and his insane jumps on motorcycles with factory suspensions. The third coolest thing however, was American trucker phenomenon. The mid 1970’s saw independent truckers and their CB lingo pull out of the truck stops and drive head-on into the American psyche. Like most great American pop-culture mishaps (i.e. disco, 50’s sock hops, teenage scientists, wire-fu, bullet-time, etc.), it all started in the movie theatre. It began with White Line Fever in 1975, continued with The Last Of The Cowboys starring Henry Fonda in 1976, reached an apex in 1977 with Burt Reynolds and Smokey And The Bandit, and petered-out (cut-off by the success of Star Wars) with the Sam Peckinpah directed Convoy in 1978. It is no coincidence that the last great western of 70’s, Clint Eastwood’s The Outlaw Josey Wales, was released in 1976, smack-dab in the middle of trucker-movie era. For a few short years (until Han Solo shot-first and rose above all comers), truckers replaced cowboys as the quintessential outlaw-heroes of the American West. What drove this fascination with 18-wheels vehicles, and the people (mostly men) who piloted them? The open roads and convoys of big rigs were like the romantic, wide-open spaces, wagon trains, and cattle drives of the western era. “Smokeys” were like the corrupt town Sheriffs, or worse, the ruthless Pinkerton men. Knowing the complicated CB language was like having a ticket into a private, FCC thumb-nosing party. This was post-Vietnam, and heroes for kids were in short supply. As silly as it may seem, the truck-driver of the mid-70’s seemed to embody the All-American spirit of freedom, independence, free trade, and the dream of making your life into anything you want it to be.
Monday, September 1, 2003
Review : Lego Drome Racers : GBA
Lego Drome
Racers (GBA)
GBA
By Steve Fulton
(originally published on gamerdad.com)
A surprisingly winning racer from THQ
Good racing games for the GBA are hard to come by. They are usually either ambitious 3D miss-fires like the textured-polygon filled Driver 2 Advance, or 2-D, third-person contests like Hot Wheels Velocity X with some good features, but ultimately difficult to view and control. THQ’s Lego Drome Racers manages to avoid these common pitfalls, crossing the finish line as rather nice little 3D combat racing game for the GBA.
The best choice THQ made with this game was to avoid textured polygons. Instead, shaded ones are used to great effect. The GBA screen is too small for most textures anyway, and most of the time they end up looking messy and grainy (ala Driver 2 Advance). The shaded polygons with their associated color palette, give the landscapes a feeling not unlike that of Warner Bros. Road Runner Cartoons. Far from detracting from the realism, the graphics create a surreal racing environment that manages to look great, while not distracting the player from the task at hand: winning races.
The game gives you the choice of 4 play modes: Arcade, Quick Race, Championship, and Multiplayer (with a link cable). The heart of the game is the Championship mode, as it let’s you race through all four “Cups” in succession. “Cups” consist of four or five races, over various terrain, each one locked until you have placed at least 3rd in the previous race. As well, each successive Cup is locked, until you have completed the previous one with a combined ranking from all races of first, second, or third.
You begin your Championship by selecting from one of the four race teams (Hot, Red, Zero, and Maverick). Two teams, Nitro and Exo-Force, are left to be unlocked by the player. This is one of the few parts of the game that actually uses it’s license, as these are also names of actual LEGO Brand product race teams. As with many THQ licensed games, aside from this detail, you’ be hard-pressed to find much in the game that uses it’s source material. In this case though, it doesn’t really detract from the game at all. After selecting you team, you have the choice to “qualify” for your race. Qualification involves a simple drag-race with computer opponent to figure out in which position you will star the race. You can skip this step, but you risk losing the extra bonus “upgrade” point you could obtain if you have the fastest over-all score.
Races are on paved or dirt tracks, using two separate cars. To be honest, it’s not easy to tell which races are on or off road, and it doesn’t seem to matter much in the game either. Each race is three laps over varied, and interesting terrain. The shaded polygons give the game crisp look, and help give it an illusion of high-speed. Along each track you can pick-up missiles, triple missiles, mines, disruptors (force field), shield, rocket, flares (to blind drivers) to help win race. Weapons are fired with the [L] buttons, while turbos are engaged with [R]. [A] accelerate, [B] brakes, and the game left-right control-pad for steering round-out the controls.
If you finish your three laps in first, second or third place, you advance to the next race and obtain power points to apply to your car’s attributes. You can choose from Top Speed, Acceleration, Handling, Grip. Refreshingly unlike some games, these attributes actually do seem to affect your vehicles. For instance, you will notice over the course of many races that your top-speed increases when you apply your point there. You will also notice handling gets much harder, so you will want to apply some points there as well. Making these sorts of details count seems like a no-brainer, but it is one of the features of LEGO Drome Racers that sets it apart from your average GBA racer.
While the graphics are nice, the sound leaves much to be desired. Engine noise is fine, but you will be taken-aback by just how awful the crowd-noise sounds. The sound is so terrible that it does detract a bit from the enjoyment in the game. With such a solid title in other areas I suppose THQ had to skimp somewhere. I would venture to guess that THQ played the odds, figuring that many people play their GBA with little or no sound. However, I like great sound in my games, and it’s usually good rule to simply leave a sound out if it is not up to snuff, instead of letting it mar otherwise good game.
Lego Drome Racers is an action-packed, solid racing title for the GBA. It’s surprising to see THQ, the king cheap throw-away licensed games, come up with something as memorable and fun as this title. If you are in the market for a diverting racer to play in-between rounds of Advance Wars 2 or Golden Sun 2, you could do much worse than plopping this game in your GBA, and taking your team of Lego racers through a thrilling Championship season.
Kid Factor
GBA
By Steve Fulton
(originally published on gamerdad.com)
A surprisingly winning racer from THQ
Good racing games for the GBA are hard to come by. They are usually either ambitious 3D miss-fires like the textured-polygon filled Driver 2 Advance, or 2-D, third-person contests like Hot Wheels Velocity X with some good features, but ultimately difficult to view and control. THQ’s Lego Drome Racers manages to avoid these common pitfalls, crossing the finish line as rather nice little 3D combat racing game for the GBA.
The best choice THQ made with this game was to avoid textured polygons. Instead, shaded ones are used to great effect. The GBA screen is too small for most textures anyway, and most of the time they end up looking messy and grainy (ala Driver 2 Advance). The shaded polygons with their associated color palette, give the landscapes a feeling not unlike that of Warner Bros. Road Runner Cartoons. Far from detracting from the realism, the graphics create a surreal racing environment that manages to look great, while not distracting the player from the task at hand: winning races.
The game gives you the choice of 4 play modes: Arcade, Quick Race, Championship, and Multiplayer (with a link cable). The heart of the game is the Championship mode, as it let’s you race through all four “Cups” in succession. “Cups” consist of four or five races, over various terrain, each one locked until you have placed at least 3rd in the previous race. As well, each successive Cup is locked, until you have completed the previous one with a combined ranking from all races of first, second, or third.
You begin your Championship by selecting from one of the four race teams (Hot, Red, Zero, and Maverick). Two teams, Nitro and Exo-Force, are left to be unlocked by the player. This is one of the few parts of the game that actually uses it’s license, as these are also names of actual LEGO Brand product race teams. As with many THQ licensed games, aside from this detail, you’ be hard-pressed to find much in the game that uses it’s source material. In this case though, it doesn’t really detract from the game at all. After selecting you team, you have the choice to “qualify” for your race. Qualification involves a simple drag-race with computer opponent to figure out in which position you will star the race. You can skip this step, but you risk losing the extra bonus “upgrade” point you could obtain if you have the fastest over-all score.
Races are on paved or dirt tracks, using two separate cars. To be honest, it’s not easy to tell which races are on or off road, and it doesn’t seem to matter much in the game either. Each race is three laps over varied, and interesting terrain. The shaded polygons give the game crisp look, and help give it an illusion of high-speed. Along each track you can pick-up missiles, triple missiles, mines, disruptors (force field), shield, rocket, flares (to blind drivers) to help win race. Weapons are fired with the [L] buttons, while turbos are engaged with [R]. [A] accelerate, [B] brakes, and the game left-right control-pad for steering round-out the controls.
If you finish your three laps in first, second or third place, you advance to the next race and obtain power points to apply to your car’s attributes. You can choose from Top Speed, Acceleration, Handling, Grip. Refreshingly unlike some games, these attributes actually do seem to affect your vehicles. For instance, you will notice over the course of many races that your top-speed increases when you apply your point there. You will also notice handling gets much harder, so you will want to apply some points there as well. Making these sorts of details count seems like a no-brainer, but it is one of the features of LEGO Drome Racers that sets it apart from your average GBA racer.
While the graphics are nice, the sound leaves much to be desired. Engine noise is fine, but you will be taken-aback by just how awful the crowd-noise sounds. The sound is so terrible that it does detract a bit from the enjoyment in the game. With such a solid title in other areas I suppose THQ had to skimp somewhere. I would venture to guess that THQ played the odds, figuring that many people play their GBA with little or no sound. However, I like great sound in my games, and it’s usually good rule to simply leave a sound out if it is not up to snuff, instead of letting it mar otherwise good game.
Lego Drome Racers is an action-packed, solid racing title for the GBA. It’s surprising to see THQ, the king cheap throw-away licensed games, come up with something as memorable and fun as this title. If you are in the market for a diverting racer to play in-between rounds of Advance Wars 2 or Golden Sun 2, you could do much worse than plopping this game in your GBA, and taking your team of Lego racers through a thrilling Championship season.
Kid Factor
This is a good beginning race game for kids. Over the age of 5, with skills to use the [R]
and [L] buttons will be enough to have little-ones ripping around these
well-designed and varied tracks. The
game is very forgiving when it comes to staying on the road, which is great for
kids just learning the mechanics of a driving game. However, kids will definitely need help with
the “drag racing” qualifiers, and understanding what to do with their “power
points”. As well, while the game has
forgiving controls, that does not mean it is easy to win. Younger kids
will have fun driving around one of the tracks (over and over and over)
until they are good enough to finish at least 3rd but that might never happen
. While 5 year olds can enjoy the
game (mine did), it might be better suited to 7 or 8 year-old, who can truly
appreciate it.
Score: ***
Age: 5+
ESRB: E - Everyone
Producer: THQ
ESRB: E - Everyone
Producer: THQ
Developer: Mobius
Entertainment
Tuesday, July 1, 2003
Review : Land Before Time Activity Center : PC
Land Before Time Activity Center
PC
By Steve Fulton
Originally published on gamerdad.com
If You Can Stand It, Your Kids Will Love It
I am a self-proclaimed “bargain-bin diver”. My ultimate price-point is $2.00. I’ll buy any software for $2.00. When Havas bought Sierra in the late 90’s
they dumped dozens of their low-rent titles for $2.00 each at CompUSA. It was like finding buried treasure. I’ve never owned more copies of pinball,
miniature golf, and You Don’t Know Jack games in my life. I dream about finds like that, but they are
few and far between. These days, the
lion’s share of the bargain-bin and jewel-case racks in major discount stores
are filled with Kid’s software, sometimes in packs of 2 or even 3 titles for
$9.99. One of the titles currently
available is The Land Before Time: Activity Center. It can sometimes be found packaged in a
two-pack with The Land Before Time: Math Adventure, or in multi-pack
named The Land Before Time: Three Pack that also includes Kindergarten
Adventure and Math Adventure.
Sunday, June 1, 2003
Review : Game : Activision Anthology : PS2
My first review submitted to Gamerdad.com. This was not written in the gamerdad.com style.
Activision Anthology
PS2
PS2
By Steve Fulton
(originally published on GamerDad.com)
(originally published on GamerDad.com)
For A Change, Nostalgia Is Done The Right Way...But Will
your Kids Care?
The name "Activision" means more to me than it
rightly should, and far too much than I can ever admit to
my wife. To me at age
11, the fab-four were "David Crane, Alan Miller, Bob Whitehead and Larry
Kaplan". I knew the names of the founding fathers of 3rd party video games
better than the authors of Declaration Of Independence, or the U.S.
Constitution. Activision games were so
well-crafted, they made the majority Atari's own 2600 releases look silly by
comparison. They continually released
high-quality (if sometimes shallow) games, up until the end of the first great
video game boom. After changing their
name to the obviously focus-group friendly Mediagenic and then back again in
the early 90’s, the company started to dig into it’s own history for
ideas. In 1995 they, released three Atari
2600 Action Pack titles for the PC. In 1998 they released an Activision
Classics collection for the PS1.
All of these early efforts suffered from an incomplete selection of
games, and poor game emulation.
Saturday, June 10, 2000
Review : The Alarm : Eponymous
The Alarm
Eponymous
2000
By Steve Fulton
Essentially, this record started out life as a CD version of “The Alarm” E.P., which has never been released. Instead, it has become something much more. This CD stands as an historical record, chronicling the sonic rise of a nearly anonymous Wales-based punk band into a chart-topping success story.
The album starts out, appropriately enough, with a-side and b-side from The Alarm’s first independent 1981 single Unsafe Building b/w Up for Murder. Both songs sound remarkably clean and crisp on CD, and set the stage for the material to follow. At this point, two songs in, the album takes a monumental turn. Instead of logically moving into “Marching On”, The Alarm’s second single from 1982, we get to hear 5 demos from 1982. Actually a mix of demos for EMI , miscellaneous demos, and sessions, these 5 songs capture The Alarm in their rawest form ever recorded. “Lie Of The Land” displays the Sharp “electro-acoustic” in all its glory, behind some alternate and very interesting lyrics. “Reason 41” follows, and it has to be the best version of this song ever recorded. Except for a slight off-key harmonica blast near the end, this song is perfect, and shows what a masterpiece this Sharp/Peters collaboration really was before it got left behind for other tracks. The album continues with “The Deceiver” a less gothic, less abstract version than the one found on the “Declaration” album. Next up is a demo of “What Kind Of Hell”. Although the recording level is a bit low (this might be fixed in the final remastering), the song in this form rocks! Think of the version “Second Generation Vol 1”, as played by wild natives. It is really remarkable. The final song in this section is “68 Guns”, and early version that sparkles like a ball of raw, focused energy.
Next up are the single/E.P. versions of “Marching On”, “Across The Border” and “Lie Of The Land”. All sound great because we can finally hear them on CD. The album then moves from 1982 to 1983. And we get a trio of Mick Glossop produced songs. “The Stand”, which needs no introduction, “Blaze Of Glory”, and “Thoughts Of A Young Man”. “Blaze Of Glory” is a version recorded in 1983, which appeared on the b-side of the “Absolute Reality” 12-inch single in 1985. To many die-hard fans, this is ultimate version of the song. It is tight, explosiove impassioned and wonderful. Legend has it that this is one of The Alarm songs that Bono heard and helped shape the direction of U2 in the following years. Yes my friends, the album critics might have always called The Alarm a rip-off of U2, but maybe, just maybe, it was the other way around. Hmm. Not to get too sidetracked, but has anyone ever noticed just how-much “Joshua Tree” sounds inspired by The Alarm from this era? Harmonicas, acoustic guitars, cowboy hats, stuff that U2 rarely delved into prior, but The Alarm had been using since their inception. Hmm. Anyhow, I digress., but it is something to think about. The third song in the “salute to Mick Glossop” is “Thoughts Of A Young Man”, a song in the form of a letter with a cool, guitar-crunching ending.
The fourth section of this album plays like a mini Alarm concert from 1983. It begins with the live version of “For Freedom” from the E.P/The Stand 12”., still as good a stomping rocker as The Alarm ever produced. Next up is a new, never released live version of “The Deceiver”, which sounds a bit faster and more anthemic than any other released version. “Third Light” (live) , “Lie Of The Land”(live) (count ‘em, three version on one CD) “A Legal Matter” (live), and the rarer “Marching On” (live) follow, all gloriously vibrant, and raucous in a way only The Alarm could have performed them on stage.
The album finishes with the single version of “68 guns”, that adds a drum-count by Twist at the beginning. This song rounds out The Alarm’s output for 1983. While not a totally remarkable ending, it is fitting for this collection. What we have here is not just a repackaging of an E.P. with some bonus tracks, but instead, a remarkable rock n’ roll journey. One that takes the listener from Rhyl bedrooms, to record company basements, through sweaty live shows in downtown London and the New York, all the way to the top-10 singles charts in the UK. This is the prelude to greater things to come, the opening shot in a battle to win the hearts and minds of music fans around the world. This is an amazing document, and one that should not be missed under any circumstances.
Eponymous
2000
By Steve Fulton
Essentially, this record started out life as a CD version of “The Alarm” E.P., which has never been released. Instead, it has become something much more. This CD stands as an historical record, chronicling the sonic rise of a nearly anonymous Wales-based punk band into a chart-topping success story.
The album starts out, appropriately enough, with a-side and b-side from The Alarm’s first independent 1981 single Unsafe Building b/w Up for Murder. Both songs sound remarkably clean and crisp on CD, and set the stage for the material to follow. At this point, two songs in, the album takes a monumental turn. Instead of logically moving into “Marching On”, The Alarm’s second single from 1982, we get to hear 5 demos from 1982. Actually a mix of demos for EMI , miscellaneous demos, and sessions, these 5 songs capture The Alarm in their rawest form ever recorded. “Lie Of The Land” displays the Sharp “electro-acoustic” in all its glory, behind some alternate and very interesting lyrics. “Reason 41” follows, and it has to be the best version of this song ever recorded. Except for a slight off-key harmonica blast near the end, this song is perfect, and shows what a masterpiece this Sharp/Peters collaboration really was before it got left behind for other tracks. The album continues with “The Deceiver” a less gothic, less abstract version than the one found on the “Declaration” album. Next up is a demo of “What Kind Of Hell”. Although the recording level is a bit low (this might be fixed in the final remastering), the song in this form rocks! Think of the version “Second Generation Vol 1”, as played by wild natives. It is really remarkable. The final song in this section is “68 Guns”, and early version that sparkles like a ball of raw, focused energy.
Next up are the single/E.P. versions of “Marching On”, “Across The Border” and “Lie Of The Land”. All sound great because we can finally hear them on CD. The album then moves from 1982 to 1983. And we get a trio of Mick Glossop produced songs. “The Stand”, which needs no introduction, “Blaze Of Glory”, and “Thoughts Of A Young Man”. “Blaze Of Glory” is a version recorded in 1983, which appeared on the b-side of the “Absolute Reality” 12-inch single in 1985. To many die-hard fans, this is ultimate version of the song. It is tight, explosiove impassioned and wonderful. Legend has it that this is one of The Alarm songs that Bono heard and helped shape the direction of U2 in the following years. Yes my friends, the album critics might have always called The Alarm a rip-off of U2, but maybe, just maybe, it was the other way around. Hmm. Not to get too sidetracked, but has anyone ever noticed just how-much “Joshua Tree” sounds inspired by The Alarm from this era? Harmonicas, acoustic guitars, cowboy hats, stuff that U2 rarely delved into prior, but The Alarm had been using since their inception. Hmm. Anyhow, I digress., but it is something to think about. The third song in the “salute to Mick Glossop” is “Thoughts Of A Young Man”, a song in the form of a letter with a cool, guitar-crunching ending.
The fourth section of this album plays like a mini Alarm concert from 1983. It begins with the live version of “For Freedom” from the E.P/The Stand 12”., still as good a stomping rocker as The Alarm ever produced. Next up is a new, never released live version of “The Deceiver”, which sounds a bit faster and more anthemic than any other released version. “Third Light” (live) , “Lie Of The Land”(live) (count ‘em, three version on one CD) “A Legal Matter” (live), and the rarer “Marching On” (live) follow, all gloriously vibrant, and raucous in a way only The Alarm could have performed them on stage.
The album finishes with the single version of “68 guns”, that adds a drum-count by Twist at the beginning. This song rounds out The Alarm’s output for 1983. While not a totally remarkable ending, it is fitting for this collection. What we have here is not just a repackaging of an E.P. with some bonus tracks, but instead, a remarkable rock n’ roll journey. One that takes the listener from Rhyl bedrooms, to record company basements, through sweaty live shows in downtown London and the New York, all the way to the top-10 singles charts in the UK. This is the prelude to greater things to come, the opening shot in a battle to win the hearts and minds of music fans around the world. This is an amazing document, and one that should not be missed under any circumstances.
Friday, June 9, 2000
Review : The Alarm : Raw (The Alarm 2000)
The Alarm
Raw (Alarm 2000 version)
2000
By Steve Fulton
I suppose it is fitting that start here with "Raw" as my first "preview-review" of "The Alarm 2000" releases, because, frankly, it has always been my least favorite of The Alarm’s studio albums. To me, the original sounded disjointed, messy and rushed. This was a far-cry from the lush and cohesive "Change" from two years prior. I always felt that "Raw" was missing something. After listening to the "Alarm 2000" version, I know what it was: more good songs.
Basically, this version of "Raw" pulls together all the songs that were originally recorded for the album, before the "Standards" greatest-hits album got in the way. "The Road", "Unsafe Building 1990", "Up For Murder 1990", and "Happy Xmas (war is over)" are all here in their full-glory. This may not sound like a huge addition, but when heard in context, they really changed my impression of the album.
"The Road" blasts off the collection in the proper manner. It is essentially the same as the version from "Standards", except it contains a tighter vocal-track than the previously released version. This is a good thing, as Mike Peters' vocals have been reigned in a bit, and sound more earthy and real. Next up, an extended version of "Rockin' In The Free World", that (as my brother pointed out) now contains the "good part" of the song. It includes.the final climax of Neil Young's masterpiece , and it sounds fantastic. Next up is "Raw", which sounds better here because it does not have the pressure of starting-off the album. After "Raw" a version of "The wind Blows Away My Words" with a tighter vocal-track, similar to the one in the new version of "The Road". In this case, it does not make the song better or worse (it is still my personal favorite song from the album) but simply sounds great. "Unsafe building 1990" continues the trend of longer songs, with an uncut version that contains a proper ending. "Moments In Time" is essentially unchanged, but the next song is not. "Let The River Run It's Course" contains a masterful, uncut ending that rally shows off Dave sharp's guitar-prowess. This used to be one of my least favorite songs, but here it takes on new life. It is one of the better tracks on the album.
"Raw" continues with "God Save Somebody", "Lead Me Through The Darkness", "Hell Or Highwater", and then quickly switches gears to include "Save Your Cryin'" (if only Mike Peters could have found a version of this like the 1986 demo, now THAT would have been something), "Wonderful World", "Up for Murder 1990", "Happy Xmas (war is over)". All of these songs are essentially the same as "Raw", and need no further comment.
However, the last song on the album comes as a complete surprise (unless you read the sleeve notes that is). "Walk Forever By My Side" is an acoustic take with Dave Sharp and Mike Peters playing dueling guitars. The acoustics are bright and colorful, the vocals as great as ever. If a single could be released from this entire 150-song set, this would be my choice. It shows The Alarm at their best. Simple, yet ultimately complex if you delve into it's deeper meaning.
With all of its extras and surprises, "Raw" receives the "Most Improved" award from me. It is not the best in the collection, but it light-years beyond the version released in 1991. If this is the final album from "The Alarm", at least it now shows they did not falter and drift away, but instead were making vital and exciting music until the day they broke-up.
Raw (Alarm 2000 version)
2000
By Steve Fulton
I suppose it is fitting that start here with "Raw" as my first "preview-review" of "The Alarm 2000" releases, because, frankly, it has always been my least favorite of The Alarm’s studio albums. To me, the original sounded disjointed, messy and rushed. This was a far-cry from the lush and cohesive "Change" from two years prior. I always felt that "Raw" was missing something. After listening to the "Alarm 2000" version, I know what it was: more good songs.
Basically, this version of "Raw" pulls together all the songs that were originally recorded for the album, before the "Standards" greatest-hits album got in the way. "The Road", "Unsafe Building 1990", "Up For Murder 1990", and "Happy Xmas (war is over)" are all here in their full-glory. This may not sound like a huge addition, but when heard in context, they really changed my impression of the album.
"The Road" blasts off the collection in the proper manner. It is essentially the same as the version from "Standards", except it contains a tighter vocal-track than the previously released version. This is a good thing, as Mike Peters' vocals have been reigned in a bit, and sound more earthy and real. Next up, an extended version of "Rockin' In The Free World", that (as my brother pointed out) now contains the "good part" of the song. It includes.the final climax of Neil Young's masterpiece , and it sounds fantastic. Next up is "Raw", which sounds better here because it does not have the pressure of starting-off the album. After "Raw" a version of "The wind Blows Away My Words" with a tighter vocal-track, similar to the one in the new version of "The Road". In this case, it does not make the song better or worse (it is still my personal favorite song from the album) but simply sounds great. "Unsafe building 1990" continues the trend of longer songs, with an uncut version that contains a proper ending. "Moments In Time" is essentially unchanged, but the next song is not. "Let The River Run It's Course" contains a masterful, uncut ending that rally shows off Dave sharp's guitar-prowess. This used to be one of my least favorite songs, but here it takes on new life. It is one of the better tracks on the album.
"Raw" continues with "God Save Somebody", "Lead Me Through The Darkness", "Hell Or Highwater", and then quickly switches gears to include "Save Your Cryin'" (if only Mike Peters could have found a version of this like the 1986 demo, now THAT would have been something), "Wonderful World", "Up for Murder 1990", "Happy Xmas (war is over)". All of these songs are essentially the same as "Raw", and need no further comment.
However, the last song on the album comes as a complete surprise (unless you read the sleeve notes that is). "Walk Forever By My Side" is an acoustic take with Dave Sharp and Mike Peters playing dueling guitars. The acoustics are bright and colorful, the vocals as great as ever. If a single could be released from this entire 150-song set, this would be my choice. It shows The Alarm at their best. Simple, yet ultimately complex if you delve into it's deeper meaning.
With all of its extras and surprises, "Raw" receives the "Most Improved" award from me. It is not the best in the collection, but it light-years beyond the version released in 1991. If this is the final album from "The Alarm", at least it now shows they did not falter and drift away, but instead were making vital and exciting music until the day they broke-up.
Thursday, May 20, 1999
Review : The Alarm : King Biscuit Flower Hour
King Biscuit: The Alarm
1999 King Biscuit Records
By Steve Fulton
There has always been a huge gap in album catalog from
the Welsh band The Alarm: a scorching live album. Sure, the band recorded
two of the best rock albums of the 80's (1984's "Declaration",
and 1985's "Strength"), but
hearing The Alarm "in-the-studio" was only half the story.
In it's time The Alarm's live performances were nothing
short of legendary. They didn't merely "take-the-stage" but more
accurately "held it hostage", blasting their unique mix of
acoustic guitars, stomping rhythms, and fiery vocals to a frantic and
amazed audience left gasping for breathe and screaming for more.
The band released an the E.P. in 1988 called "Electric Folklore: Live", but that 6 song
disappointment did more to show how The Alarm's troubles
as unit in the late 80's than display their sheer
magnificence as a live band.
1999 King Biscuit Records
By Steve Fulton
There has always been a huge gap in album catalog from
the Welsh band The Alarm: a scorching live album. Sure, the band recorded
two of the best rock albums of the 80's (1984's "Declaration",
and 1985's "Strength"), but
hearing The Alarm "in-the-studio" was only half the story.
In it's time The Alarm's live performances were nothing
short of legendary. They didn't merely "take-the-stage" but more
accurately "held it hostage", blasting their unique mix of
acoustic guitars, stomping rhythms, and fiery vocals to a frantic and
amazed audience left gasping for breathe and screaming for more.
The band released an the E.P. in 1988 called "Electric Folklore: Live", but that 6 song
disappointment did more to show how The Alarm's troubles
as unit in the late 80's than display their sheer
magnificence as a live band.
Monday, September 1, 1997
113 Questions For Mike Peters
My second massive interview with Mike Peters from 1997. This is the longest interview I ever conducted. The first interview was mostly about The Alarm, but this one covered more of his solo career.
-Steve Fulton
1. 'Feel Free' has been a success in many European countries, especially Italy. Can you tell us just what happened in Italy? Do you consider it a breakthrough?
'Feel Free' has generally been received well in every country of release. The album has enjoyed positive reviews and has definitely advanced the overall perception of Mike Peters as an artist working at the cutting edge of modern music. In Italy, the album received some decent airplay and I was able to perform on national t.v. which helped to ensure the concerts were very well attended. As to this being a breakthrough, only time will tell.
2. What about France? The Alarm had a tough time breaking through to the French, did you make any encouraging in-roads with them this time?
Yes! The French music press have been very favourable towards 'Feel Free' and the album actually scraped into the lower regions of the French charts.
3. You played at Disneyland France. That must have been a strange couple of days. Can you let us in on what happened there?
That was a closed show for the French media, although I played a warm up show with the band the night before to a lot of bemused families, who were quietly munching burgers (or as in Pulp Fiction should that be a "royale with cheese"). I think they were expecting a doo wop group or something but when we blasted into 'Rip' a lot of them fled for the exits leaving us alone to get on with our rehearsal.
-Steve Fulton
1. 'Feel Free' has been a success in many European countries, especially Italy. Can you tell us just what happened in Italy? Do you consider it a breakthrough?
'Feel Free' has generally been received well in every country of release. The album has enjoyed positive reviews and has definitely advanced the overall perception of Mike Peters as an artist working at the cutting edge of modern music. In Italy, the album received some decent airplay and I was able to perform on national t.v. which helped to ensure the concerts were very well attended. As to this being a breakthrough, only time will tell.
2. What about France? The Alarm had a tough time breaking through to the French, did you make any encouraging in-roads with them this time?
Yes! The French music press have been very favourable towards 'Feel Free' and the album actually scraped into the lower regions of the French charts.
3. You played at Disneyland France. That must have been a strange couple of days. Can you let us in on what happened there?
That was a closed show for the French media, although I played a warm up show with the band the night before to a lot of bemused families, who were quietly munching burgers (or as in Pulp Fiction should that be a "royale with cheese"). I think they were expecting a doo wop group or something but when we blasted into 'Rip' a lot of them fled for the exits leaving us alone to get on with our rehearsal.
41 Questions For Nigel Twist
An interview with Nigel Twist of The Alarm, conducted via email in 1997. Twist had just started subscribing to Steve Varty's mailing list at the time, and it was a wondrous time to have a member of The Alarm communicating with us on daily basis. Twist is a very unique character and has never wavered in his opinion on just what The Alarm is, and who it should be.
Do you have a favorite Alarm song? How about a favorite Mike Peters or Dave Sharp solo song?
Favorite Alarm song: I have many, but I like "Rain" , "Sold Me" & "We are the light" Twist & Sharp song: "Drive these blues away", Peters song: I haven't heard the album yet.
Do you still listen you your Alarm albums, or do you find it difficult to do so?
I haven't listened to an Alarm album in a while. The band never reached the production plateau we should have, however we came close with "Change" and "Eye of the Hurricane." Listening to our albums is like opening a photo album & seeing all the memories come flooding back (the bitter taste of dissapointment). ("Knife Edge").
Was there a time when you felt The Alarm had finally "made it"?
"There was never a time that The Alarm had "made it", it was a continous struggle from the get go. Maybe after the US tour with U2, when we should have exploded into America. But due to many factors it never happened".
Since you were once a guitarist, would you have rather played guitar in The Alarm than drums? Do you play guitar now? "I still putz around on the guitar but I never had any delusions about being a guitarist for The Alarm. Providing the backbone to the band was very fulfilling and I'm happy I did it, although at times it was like trying to drive a stagecoach with three crazy horses in front!"
How do you view the "Raw" album now 5 years later?
"The Raw album was a very saddening experience for me. My stepfather had just commited suicide and the atmosphere between the band members was so thick you could cut it with a knife. It felt like all we were doing was trying to make a fast buck so that everyone could leave and do their own thing. I think Mike was laying his foundation here to leave the band".
Saturday, February 1, 1997
Review : Mike Peters : Gathering V
A fews days after I came back from "The Gathering V" I wrote this short review and put it out on the usenet. I just thought that people should know what happened.
Mike Peters Gathering V Report from Llandudno, Wales
--------------------------------------------------------------------------------
On January 11th, at approximately 11:30 P.M. (UK time) One half of the 80's band The Alarm returned to the stage for the first time in nearly 6 years. Bass player Eddie MacDonald joined lead Vocalist and guitarist Mike Peters on stage for stirring renditions of two the The Alarm's best songs: "Spirit Of '76" and "Rescue Me".
Mike Peters left The Alarm in June 1991, citing creative differences within the band that were tearing it apart. He has since been extremely prolific as a solo artist, having released six solo albums: two full length efforts: 1994's "Breathe" and 1996's "Feel Free", as well as version of "Breathe" sung entirely in Welsh named "Aer", an album of all acoustic "Breathe" demos named "Breathe: The Accoustic Sessions", an album of re-made Alarm b-sides named "Second Generation: Rare Songs Of The Alarm Revisited", and most recently, a live album recorded in 1992 named "The Abbey Road Sessions".
Mike Peters has been holding "The Gathering" for 5 years running now. Basically, it is a weekend dedicated to music of The Alarm and himself, held in Peters' home town of Llandudno, Wales. The weekend includes a 2-hour acoustic show on Friday night, and a 3 hour electric show on Saturday night interspersed with films and videos documenting the rich history of The Alarm as a band, and Mike Peters as a solo artist.
Eddie MacDonald has been quitely living in England for the past six years working as a photographer and writing music. He and Peters, the best of friends since age 4, hadn't patched up their differences over the break-up of The Alarm until late in 1996 when MacDonald showed up at Peters' gig at The Royal Albert Hall, opening for the Scottish band Runrig. After mush coaxing, Peters convinced MacDonald to show up at "The Gathering V", and for the first time since The Alarm's last gig at the Brixton Academy in 1991, 50% of the band Alarm took part in a public performance.
The spirit of the night was incredible. Rumors abounded that Eddie Macdonald would be showing up, but only a select few knew that the ex-Alarm bass man would be taking the stage during the first encore. As soon as Mr. MacDonald was announced, the crowd went ballistic. The deafening chant of "Eddie! Eddie! Eddie! ..." filled the venue. Even after another guest came out, Billy Duffy of "The Cult", the crowd,still amazed that Eddie MacDonald had shown up, continued their chant as an ode to the missing Alarmist, who had finally re-emerged after so many years.
Even though Mike Peters and Eddie MacDonald are now on speaking terms, a full Alarm reunion is unlikely for the foreseeable future. Alarm guitarist Dave Sharp released his second solo album in 1996 named "Downtown America", and drummer Nigel Twist works in San Francisco, and is involved with a band named "Fringe". Although Twist and Sharp are still in communication with MacDonald, the same cannot be said for the pair and Mike Peters. When Peters attempted to re-form The Alarm in 1995, the two balked at the idea, and there is no sign of that attitude changing at this time. Even so, the prospect of MacDonald and Peters writing songs together again is enough to make Alarm fans salivate. While Peters wrote 90% of The Alarm's lyrics, Macdonald was responsible for a good portion of the music behind them. Now that Peters has grown into an incredible song-writer as well, the pairing could produce some magnificent recordings. Mike Peters will be spending the first part of 1997 writing and recording a new album, and then he sets out on a world-tour that should include dates in the USA. Whether or not Eddie MacDonald will take any part in this activity remains to be seen.
--------------------------------------------------------------------------------
If you are interested in more information on The Alarm, Mike Peters, Dave Sharp, or Fringe, visit the following WWW sites:
http://www.demon.co.uk/alarmpo http://www.wheatmedia.com/alarm http://www.wheatmedia.com/sharp http://www.wheatmedia.com/fringe
Mike Peters newest album is named "Feel Free" and is available nation-wide in the USA, Canada, UK, and the rest of Europe. It is combination of of acoustic rock, punk, and bit of 90's dance music all rolled into one. The album documents Peters' Cancer scare in 1995. A new single from "Feel Free", "My Calling" will be released in the UK within the coming weeks.
Dave Sharp's newest album "Downtown Amercia" is still available only in the USA on Dinosaur records. The album is filled with Sharp's trademarks: intricate lyrics, and folk-rock.
If you have any questions, or would like to discuss The Alarm, e-mail me at: sfulton@ix.netcom.com
Steve Fulton
Mike Peters Gathering V Report from Llandudno, Wales
--------------------------------------------------------------------------------
On January 11th, at approximately 11:30 P.M. (UK time) One half of the 80's band The Alarm returned to the stage for the first time in nearly 6 years. Bass player Eddie MacDonald joined lead Vocalist and guitarist Mike Peters on stage for stirring renditions of two the The Alarm's best songs: "Spirit Of '76" and "Rescue Me".
Mike Peters left The Alarm in June 1991, citing creative differences within the band that were tearing it apart. He has since been extremely prolific as a solo artist, having released six solo albums: two full length efforts: 1994's "Breathe" and 1996's "Feel Free", as well as version of "Breathe" sung entirely in Welsh named "Aer", an album of all acoustic "Breathe" demos named "Breathe: The Accoustic Sessions", an album of re-made Alarm b-sides named "Second Generation: Rare Songs Of The Alarm Revisited", and most recently, a live album recorded in 1992 named "The Abbey Road Sessions".
Mike Peters has been holding "The Gathering" for 5 years running now. Basically, it is a weekend dedicated to music of The Alarm and himself, held in Peters' home town of Llandudno, Wales. The weekend includes a 2-hour acoustic show on Friday night, and a 3 hour electric show on Saturday night interspersed with films and videos documenting the rich history of The Alarm as a band, and Mike Peters as a solo artist.
Eddie MacDonald has been quitely living in England for the past six years working as a photographer and writing music. He and Peters, the best of friends since age 4, hadn't patched up their differences over the break-up of The Alarm until late in 1996 when MacDonald showed up at Peters' gig at The Royal Albert Hall, opening for the Scottish band Runrig. After mush coaxing, Peters convinced MacDonald to show up at "The Gathering V", and for the first time since The Alarm's last gig at the Brixton Academy in 1991, 50% of the band Alarm took part in a public performance.
The spirit of the night was incredible. Rumors abounded that Eddie Macdonald would be showing up, but only a select few knew that the ex-Alarm bass man would be taking the stage during the first encore. As soon as Mr. MacDonald was announced, the crowd went ballistic. The deafening chant of "Eddie! Eddie! Eddie! ..." filled the venue. Even after another guest came out, Billy Duffy of "The Cult", the crowd,still amazed that Eddie MacDonald had shown up, continued their chant as an ode to the missing Alarmist, who had finally re-emerged after so many years.
Even though Mike Peters and Eddie MacDonald are now on speaking terms, a full Alarm reunion is unlikely for the foreseeable future. Alarm guitarist Dave Sharp released his second solo album in 1996 named "Downtown America", and drummer Nigel Twist works in San Francisco, and is involved with a band named "Fringe". Although Twist and Sharp are still in communication with MacDonald, the same cannot be said for the pair and Mike Peters. When Peters attempted to re-form The Alarm in 1995, the two balked at the idea, and there is no sign of that attitude changing at this time. Even so, the prospect of MacDonald and Peters writing songs together again is enough to make Alarm fans salivate. While Peters wrote 90% of The Alarm's lyrics, Macdonald was responsible for a good portion of the music behind them. Now that Peters has grown into an incredible song-writer as well, the pairing could produce some magnificent recordings. Mike Peters will be spending the first part of 1997 writing and recording a new album, and then he sets out on a world-tour that should include dates in the USA. Whether or not Eddie MacDonald will take any part in this activity remains to be seen.
--------------------------------------------------------------------------------
If you are interested in more information on The Alarm, Mike Peters, Dave Sharp, or Fringe, visit the following WWW sites:
http://www.demon.co.uk/alarmpo http://www.wheatmedia.com/alarm http://www.wheatmedia.com/sharp http://www.wheatmedia.com/fringe
Mike Peters newest album is named "Feel Free" and is available nation-wide in the USA, Canada, UK, and the rest of Europe. It is combination of of acoustic rock, punk, and bit of 90's dance music all rolled into one. The album documents Peters' Cancer scare in 1995. A new single from "Feel Free", "My Calling" will be released in the UK within the coming weeks.
Dave Sharp's newest album "Downtown Amercia" is still available only in the USA on Dinosaur records. The album is filled with Sharp's trademarks: intricate lyrics, and folk-rock.
If you have any questions, or would like to discuss The Alarm, e-mail me at: sfulton@ix.netcom.com
Steve Fulton
Wednesday, January 1, 1997
Review : The Alarm : Curtain Call
The Alarm
Curtain Call
1988
By Steve Fulton
"Curtain Call" is promotional-only album, released primarily to promote the single "Rescue Me" to American AOR radio stations in 1988. It contains 11 tracks, the most interesting of which is alternative version of "Rescue Me" called the "Tearing The Bonds Asunder Mix" which contains less synthesizer, and an extended bridge that lets Dave Sharp go "guitar-wild". Other interesting songs are "The Stand (full version)" Absolute Reality (UK Single Version) that appeared here for the first time on CD. Also present, is the entire contents of "Electric Folklore Live".
Curtain Call
1988
By Steve Fulton
"Curtain Call" is promotional-only album, released primarily to promote the single "Rescue Me" to American AOR radio stations in 1988. It contains 11 tracks, the most interesting of which is alternative version of "Rescue Me" called the "Tearing The Bonds Asunder Mix" which contains less synthesizer, and an extended bridge that lets Dave Sharp go "guitar-wild". Other interesting songs are "The Stand (full version)" Absolute Reality (UK Single Version) that appeared here for the first time on CD. Also present, is the entire contents of "Electric Folklore Live".
Review : The Alarm : Electric Folklore Live
The Alarm
Electric Folklore Live
1988
By Steve Futon
This album is over 40 minutes long, and contains only 6 songs. The live versions of "Rescue Me" and "Rain In The Summertime" are brilliant on this album, drastically making up for the low-key versions on "Eye Of The Hurricane". The problem is that 2 songs do not make up a live album. The other 4 songs, "Strength", "Blaze Of Glory", "Spirit Of '76", and "Permanence In Change" are far inferior to earlier album or live versions. With only 6 songs, this album has far too many missing elements that would have shown The Alarm at their best. "The Stand", "Howling Wind", "Where Were You Hiding", "Absolute Reality", "The Bells Of Rhymney", and "The Deceiver" among many many others could have filled out this album and really shown what a brilliant, tight, and powerful live band The Alarm were. Instead, we get 6 bloated numbers that do more to show The Alarm's mis-direction than anything else. Wasn't it Pete Townsend that once said "any song over 2:30 is crap" ? This certainly would apply to "Electric Folklore Live".
Electric Folklore Live
1988
By Steve Futon
This album is over 40 minutes long, and contains only 6 songs. The live versions of "Rescue Me" and "Rain In The Summertime" are brilliant on this album, drastically making up for the low-key versions on "Eye Of The Hurricane". The problem is that 2 songs do not make up a live album. The other 4 songs, "Strength", "Blaze Of Glory", "Spirit Of '76", and "Permanence In Change" are far inferior to earlier album or live versions. With only 6 songs, this album has far too many missing elements that would have shown The Alarm at their best. "The Stand", "Howling Wind", "Where Were You Hiding", "Absolute Reality", "The Bells Of Rhymney", and "The Deceiver" among many many others could have filled out this album and really shown what a brilliant, tight, and powerful live band The Alarm were. Instead, we get 6 bloated numbers that do more to show The Alarm's mis-direction than anything else. Wasn't it Pete Townsend that once said "any song over 2:30 is crap" ? This certainly would apply to "Electric Folklore Live".
Review : The Alarm : Eye Of The Hurricane
The Alarm
Eye Of The Hurricane
1987
By Steve Fulton
"Eye" or "the disaster album" as my brother used to call it, came as a shock to most Alarm fans. The electronic drums on the first single "Rain In The Summertime" are a bit hard to swallow, and the synthesizers used elsewhere just seem out of place for The Alarm. These elements are used only sparingly on the album, but the production seems to highlight them, making them even more evident. What The Alarm were trying to do with "Eye" was to not re-create "Strength". They were only partially successful. Songs like "Rain In The Summertime", "Presence Of Love", "Hallowed Ground", "Newtown Jericho" and "Eye Of The Hurricane" certainly ring of a new sound, but the other half of the album: "One Step Closer To Home", "Shelter", "Rescue Me", "Permanence In change" and "Only Love Can Set Me Free", could have been on "Strength II" if they had a harder-edged production. What we get is a compromise of two song styles, hampered by an even-handed production that doesn't highlight either of them. The easy stand-out is Dave Sharp's "One Step Closer To Home", which is simply one of the best songs ever recorded. It is easy to pick out from the rest of the album because it was recorded live (the only way Dave could get it the way he wanted). "Rain In The Summertime" is brilliant song, (even with the electronics), and the haunting "Hallowed Ground" harkens back to old Alarm b-sides like "Unbreak The Promise". "Shelter" and "Newtown Jericho" have their moments, but they are just not as interesting as they could have been. "Permanence In change" is the only song with harmonica (which, strangely, was missing from "Hallowed Ground") and has an outstanding bass-line, making it come off as one of the better crafted songs on the album. The title track, "Eye Of The Hurricane" has a promising acoustic riff, but is mired in sea of swirling synthesizers, that crashes with a resounding "thud" during he chorus. "Rescue Me" is a really great song, but it is one that could have truly used a more "Strength"-style production, instead it seems almost low-key in its rock attack, the same can be said for "Only Love Can Set Me Free". There may be a reason for this (but not an excuse). "Eye Of The Hurricane" was the first Alarm album that was essentially self-produced (John Porter gets the credit for guiding them in the studio), and the problems most likely come from there. Still, "Eye Of The Hurricane" is solid album, but also one that left me wondering what the songs would have sounded like if they were all recorded a different way.
Eye Of The Hurricane
1987
By Steve Fulton
"Eye" or "the disaster album" as my brother used to call it, came as a shock to most Alarm fans. The electronic drums on the first single "Rain In The Summertime" are a bit hard to swallow, and the synthesizers used elsewhere just seem out of place for The Alarm. These elements are used only sparingly on the album, but the production seems to highlight them, making them even more evident. What The Alarm were trying to do with "Eye" was to not re-create "Strength". They were only partially successful. Songs like "Rain In The Summertime", "Presence Of Love", "Hallowed Ground", "Newtown Jericho" and "Eye Of The Hurricane" certainly ring of a new sound, but the other half of the album: "One Step Closer To Home", "Shelter", "Rescue Me", "Permanence In change" and "Only Love Can Set Me Free", could have been on "Strength II" if they had a harder-edged production. What we get is a compromise of two song styles, hampered by an even-handed production that doesn't highlight either of them. The easy stand-out is Dave Sharp's "One Step Closer To Home", which is simply one of the best songs ever recorded. It is easy to pick out from the rest of the album because it was recorded live (the only way Dave could get it the way he wanted). "Rain In The Summertime" is brilliant song, (even with the electronics), and the haunting "Hallowed Ground" harkens back to old Alarm b-sides like "Unbreak The Promise". "Shelter" and "Newtown Jericho" have their moments, but they are just not as interesting as they could have been. "Permanence In change" is the only song with harmonica (which, strangely, was missing from "Hallowed Ground") and has an outstanding bass-line, making it come off as one of the better crafted songs on the album. The title track, "Eye Of The Hurricane" has a promising acoustic riff, but is mired in sea of swirling synthesizers, that crashes with a resounding "thud" during he chorus. "Rescue Me" is a really great song, but it is one that could have truly used a more "Strength"-style production, instead it seems almost low-key in its rock attack, the same can be said for "Only Love Can Set Me Free". There may be a reason for this (but not an excuse). "Eye Of The Hurricane" was the first Alarm album that was essentially self-produced (John Porter gets the credit for guiding them in the studio), and the problems most likely come from there. Still, "Eye Of The Hurricane" is solid album, but also one that left me wondering what the songs would have sounded like if they were all recorded a different way.
Review : The Alarm : Spirit Of '86
This review in indicative of what I was writing in 1997 about The Alarm. It was before I was working officially for Mike Peters, so I went ahead and said whatever I wanted. The updated version of this show that Mike Peters released in 2006 was much better.
The Alarm
Spirit of '86 (video)
1986
By Steve Fulton
The Spirit Of '86 show at UCLA was one of the best days I have spent in my entire life. Having said that, very little of that wonderful day was captured on this video shot by MTV. With smarmy commentating by Martha Quinn, and a ridiculously bad 15-minute "extra" segment called "The Alarm Have Sounded", the video looks like it was slapped together in about 2 hours (it was). The concert segment is not much better. Without the sound, I would have given this video "3 stars" because it looks pretty good, but turn the sound up, and well, it just makes the video unbearable to watch. About half-way through the second song, Nigel Twist's bass drum is demolished by some frat-boy's football, and for the rest of the show we get a nearly bottom-less set of Alarm classics. Of course, this didn't seem to effect the sound much to the 20,000 or so people that were at UCLA that day, but the story is much different on the video. The best songs here are "Declaration", "Marching On", and "Howling Wind" because they come before the drum disaster. The version of "The Stand" is pretty good as well, but just fast-forward over "Spirit Of '76", it will make you ill if you don't.
The Alarm
Spirit of '86 (video)
1986
By Steve Fulton
The Spirit Of '86 show at UCLA was one of the best days I have spent in my entire life. Having said that, very little of that wonderful day was captured on this video shot by MTV. With smarmy commentating by Martha Quinn, and a ridiculously bad 15-minute "extra" segment called "The Alarm Have Sounded", the video looks like it was slapped together in about 2 hours (it was). The concert segment is not much better. Without the sound, I would have given this video "3 stars" because it looks pretty good, but turn the sound up, and well, it just makes the video unbearable to watch. About half-way through the second song, Nigel Twist's bass drum is demolished by some frat-boy's football, and for the rest of the show we get a nearly bottom-less set of Alarm classics. Of course, this didn't seem to effect the sound much to the 20,000 or so people that were at UCLA that day, but the story is much different on the video. The best songs here are "Declaration", "Marching On", and "Howling Wind" because they come before the drum disaster. The version of "The Stand" is pretty good as well, but just fast-forward over "Spirit Of '76", it will make you ill if you don't.
Review : The Alarm : Strength
The Alarm
Strength
1985
By Steve Fulton
"Strength" is an album made by a mature band. The Alarm made the step from their early material to "Strength", not in a giant leap, but with the help of their first album "Declaration" and its forward-looking attitude. The youthful exuberance of "Declaration" is nearly absent here, supplanted with an emphasis on human needs and personal experience. What "Strength" keeps from "Declaration" is an inherint optimism for the future, even while reminicing about the past. Electric guitars eclipse acoustics on this album, making for a full, rounded sound not heard on previous Alarm recordings. This album is filled with some of The Alarm's best songs: The nostalgic fire of "Spririt Of '76", the cautionary tale in "The Day The Ravens Left The Tower", the simple truths of "Only The Thunder" and the joyful cry of "Walk Forever By My Side". "Strength" is an album to savor, it makes you think, and stomp about at the same time.
Strength
1985
By Steve Fulton
"Strength" is an album made by a mature band. The Alarm made the step from their early material to "Strength", not in a giant leap, but with the help of their first album "Declaration" and its forward-looking attitude. The youthful exuberance of "Declaration" is nearly absent here, supplanted with an emphasis on human needs and personal experience. What "Strength" keeps from "Declaration" is an inherint optimism for the future, even while reminicing about the past. Electric guitars eclipse acoustics on this album, making for a full, rounded sound not heard on previous Alarm recordings. This album is filled with some of The Alarm's best songs: The nostalgic fire of "Spririt Of '76", the cautionary tale in "The Day The Ravens Left The Tower", the simple truths of "Only The Thunder" and the joyful cry of "Walk Forever By My Side". "Strength" is an album to savor, it makes you think, and stomp about at the same time.
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