{"id":8026,"date":"2019-09-08T05:00:17","date_gmt":"2019-09-08T05:00:17","guid":{"rendered":"http:\/\/rpmonline.co.uk\/?p=8026"},"modified":"2019-09-04T15:41:12","modified_gmt":"2019-09-04T15:41:12","slug":"8026","status":"publish","type":"post","link":"https:\/\/rpmonline.co.uk\/?p=8026","title":{"rendered":"Gerald\u2019s Corner- A Beat Angels Celebration"},"content":{"rendered":"

\"\"<\/a>Arizona in the early 90\u2019s generally is known for jangly rock along the lines of the Gin Blossoms, Refreshments, Dead Hot Workshop, Piersons, and\u00a0Pistoleros. That wasn\u2019t all Arizona had to offer though as the\u00a0Meat Puppets\u00a0would see a surge in popularity after being covered by Nirvana, and other bands like Jesus Chrysler Supercar brought in the grunge and 90\u2019s rock elements in their own ways. In addition, N17 (November 17) found themselves signed to Slip Disc Records. Amidst this musical garden of excellence, the Beat Angels incorporated glam, rock, punk, and a ton of fun in their music that equally set them apart from the \u201cpopular\u201d Arizona sound. People often say that timing is everything, and I believe that is very much the case of what went wrong for these guys. If they had been on either coast playing these songs in the mid to late 80\u2019s, I believe they would have been signed and done very well on a national level. They had the songs, the live show, the image, and the charisma to find stardom. Check out the writing credits for \u2018Sideshow\u2019 on\u00a0Alice Cooper\u2019s \u2018The Last Temptation\u2019 album, and you will find a Beat Angels connection. Much the same could be said for DGeneration at the time who embraced more punk than glam but found themselves marketed all wrong in my opinion since punk was becoming all the rage at the time. Let\u2019s get this back on the Beat Angels though, and the legacy they left through their two official albums of the time and the songs that snuck out afterwards.<\/p>\n

The Beat Angels likely came to my attention via a co-worker who was a huge fan of the band, and we shared a lot of favorite bands so it was only natural that I would find my way to shows by the Beat Angels. The live shows were nothing short of amazing with the raw edge of the band always present along with the vocal harmonies that made every song a \u2018raise your glass and sing along\u2019 song. I saw them at many places in the Phoenix area with Hollywood Alley in Mesa probably being my favorite venue to see them. As a side note, I was always extremely partial to Hollywood Alley as the sound there was amazing, and I saw the likes of Tyla (Dogs D\u2019amour), Electric Frankenstein, and plenty of other bands there too. Back to our topic though, the Beat Angels were a blend of visual styles with each member bringing their own identity to the band. The photo from Brian Smith (vocals) Facebook page providers an idea of what you would see when they took the stage each night.<\/p>\n

\"\"<\/a>The band released two albums independently on the Arizona based Epiphany Records, who I will note also released tremendous albums by the Refreshments and the Piersons that continue to be played by me. Both of the Beat Angels\u2019 albums were produced by Gilby Clarke who should really need no introduction from his time with Candy, Kill for Thrills, GN\u2019R, and solo work amongst others. The debut \u2018Unhappy Hour\u2019 has some rougher edges overall in the production which serves the band well, even if it does not get to the rawness of their live show. The straight ahead power pop rock of \u2018Hung Over With Jenny\u2019 serves as a great introduction. Brian Smith\u2019s vocals have an identity all their own and fit the music perfectly. They are immediately accessible, easy to understand, and make you think you can sing as well as him\u2026. until you try and fail miserably. This song also lets the listener know something else right away; these songs are going to tell stories that paint the picture and deliver a narrative. It is a gift Smith has continued to use today as an author. Consider the bridge which goes \u2018Work is always the curse of the drinkin classes she said. Midnight and it\u2019s the end of the ball. Little Cinderella\u2019s gotta crawl back in her bottle.\u2019 Where awesome bands like the Dogs D\u2019amour\/ Tyla might lyrically feel grittier and more Bukowski influenced, Smith had a more romantic and sentimental tone, even when everything might be going wrong for the character in the song.\"\"<\/a><\/p>\n

\u2018Grow Up\u2019 breaks down the door while never losing its pop edge in the chorus where you suspect it could have been used in an edgy Saturday morning cartoon back in the day. The sentiment of all the realities of being a grown up leave us wanting to retain our youth and the joys that come with it. Smith again paints a character portrait on \u2018The Most Beautiful Loser in Town\u2019 which features an addictive pre-chorus that unloads into a massive hook in the chorus. I always thought this should have been the song featured on a local compilation album (\u2018Buzz\u2019) back around that time as it is simply perfect. The band kept the adrenalin up with \u2018Idiot Train\u2019 being one of my live favorites. Jon Norwood\u2019s (RIP) drums give way to a beautiful melody that combines a quiet verse with an upbeat tempo and a slightly jagged chorus. They then completely turned the tables with the acoustic rock based \u2018Too Much Jazz\u2019 being one of those songs that, for me, hits as hard as \u2018Motorcycle Emptiness\u2019 does for many Manic Street Preachers\u2019 fans. Smith again paints the scene with his lyrics perfectly with the opening line of \u2018shopping malls only bring you down; they\u2019re the last cathedrals in town\u2019 highlighting how much has changed over the years with the shopping malls slowly fading into memory as people shift to staying home and buying everything through the glow of their phones and tablets.<\/p>\n

Getting past the halfway point of the album with the glam infused \u2018Scaredy Cat\u2019 keeping the album in classic territory with the tasteful backing vocals taking the chorus to a different level. Another song that would have made a great single follows in \u2018I Love You Sometimes.\u2019 The guitar work of Keith Jackson and Michael Brooks is awesome across the albums as they give each song everything it needs without going overboard. This song can inspire some air guitar workouts where you find yourself also providing karaoke backing vocals at the same time. \u2018Name Your Trash\u2019 might not hit me quite the same way all these years later as I seem to remember it was an early favorite from the album. It is a very nice mash up of power infused pop and glam.<\/p>\n

I would consider \u2018She\u2019s a Setting Sun\u2019 an exceptional ballad that really doesn\u2019t hit any of the formulas of the day. The guitar at the beginning almost finds a bit of a twang as everything comes down to acoustic guitar and vocals for the first verse before everyone comes back through the chorus. They stay far wide of the power ballad label with this one really feeling more like a mellower song with a really nice brief guitar solo. The driving beat of \u2018Jaded\u2019 increases the tempo again but doesn\u2019t connect with me nearly as much as the rest of the album. Closing song on the debut \u2018Don\u2019t Kiss Me\u2019 holds the distinction of being the song that was featured on the local compilation I mentioned earlier, which has always been odd to me. At under two minutes, the song carries a bit more swagger and punk attitude. I don\u2019t think the studio version hits nearly the same as it did live though. The chorus is really simple which I thought put it at odds with a lot of the other songs they could have used. It works fairly well as the album closer and is not one to be skipped even if it is not at the standard of the live show.<\/p>\n

\"\"<\/a><\/p>\n

The band stayed with Epiphany Records (who would soon fade away) for album number two which simply continued the magic. The rocking \u2018Snot\u2019 carries with it a bit more venom than their debut album. The album carries a slightly more live feel than the debut, and the release party for this album was an incredible show. Ironically, the opener is probably the one I skip if I am pressed for time. The staccato guitar that opens \u2018You\u2019re a Wreck\u2019 gives way to another catchy song that does a fine job of setting the stage for the album and everything that follows. Something funny happens when you listen to this album the first few times, there is a good chance that you will really love the first two songs and think the band has done a great job of building on their debut. What you don\u2019t realize yet though is that this album is only getting ready to explode into one of the most wonderful things you will ever hear.<\/p>\n

\u2018My Glum Sugar-Plum\u2019 starts the trip into the stratosphere with the opening line being \u2018She looked like Marianne Faithful in 1965; a pop-tart all gin and cigarettes, lips and heaven.\u2019 The chorus here is huge and gets everyone quickly singing along. In some universe, this song is as huge as other power pop masterpieces. The brief acoustic guitar outro takes us into \u2018Glitter Girl\u2019 where the band again find the perfect sweet spot to maximize the melody and give it some rock at the same time. The rhythm work of Tommy Caradonna (bass) and Frankie Hanyak (drums) is simply magical. The chorus slices deep into your memory with each listen. They then follow it up with the incredible \u2018Saturday Punks\u2019 which hits hard and again comes with a monster chorus that in part features this opening line \u2018Saturday punks, dumber than junk, don\u2019t even know about Strummer and Jones.\u2019 The guitar work of Jackson and Brooks again getting plenty of space to shine. It ends the first half of the album on an incredible high.<\/p>\n

Remarkably, the band continue to push the envelope even higher with the classic \u2018Crashing Back to Her.\u2019 This is catchier than the plague in the dark ages and a magical elixir that immediately puts a smile on your face as you sing every word. The tempo is quick but still contains a poppiness that shines on the album. \u2018Keep It Up\u2019 is an interesting one for me as I remember someone telling me that it would be their huge breakthrough hit. I am thankful that it didn\u2019t as I don\u2019t know if I would appreciate it as much today if it had been played nonstop back in 1997. The hook is simple and designed for everyone to sing which runs the risk of it feeling repetitive. Within the space of the album though, it feels magical and one I look forward to hearing. I\u2019m sure everyone has similar experiences with songs that they initially loved before it was oversaturated on the radio and television. One of mine would be \u2018No Rain\u2019 by Blind Melon which I loved within the context of their debut, but I struggle to play it much now.\"\"<\/a><\/p>\n

\u2018Crashing Back to Her\u2019 might be my favorite song by the Beat Angels which probably means I don\u2019t need to say much about it based on the praise I have heaped on the other songs. It has seemingly collected every nuance of the band and created this amazing 4 minute flawless burst. Another live favorite follows with \u2018Hey Little Peep-Show\u2019 keeping the rock swaggering with a pre-chorus that could have been the hook leading into an even bigger chorus. \u2018Cinnamon Says\u2019 is the last listed track on the album and would have been an awesome closer on its own as it features a catchy guitar riff with the song only getting more and more addictive as it goes. The band then threw in an unlisted cover of \u2018Celebrate Summer\u2019 by T.Rex, which fits the album perfectly.<\/p>\n

That was sadly where things disappeared in terms of releases, outside of \u2018Liquor Pig Boyfriend\u2019 appearing on one of the \u2018Ultra Under Trash on Demand\u2019 compilations put together by Jeff Dahl. I highly suggest you track down those compilations by the way as there are some amazing artists that need to be heard. There was a third Beat Angels album though that was recorded and fell into the darkness of time. Some of these songs were released on the limited edition best of \u2018Holy Mother of Christ! It\u2019s the Beat Angels.\u2019 This third album called \u2018Let It Beat\u2019 found the group continuing to evolve musically with the opening \u2018Girl Walking Backwards\u2019 feeling contemporary and classic at the same time. It could have likely earned a lot of college radio play with its melodic chorus begging to be sung and the guitar popping out of the speaker. The pace increases with \u2018She Shoots Starlight\u2019 feeling like something from \u2018Unhappy Hour\u2019 with its catchy chorus and guitar licks both leaving their hooks in the listener.<\/p>\n

Brian Smith kept spinning creative lyrics that allowed the likes of \u2018She Shoots Starlight\u2019 to sit comfortably next to \u201924 Hour Porn Star Shine.\u2019 The melodies remained huge with the band maintaining a rocking vibe that still recalled the influences from their debut while perhaps not being quite as gritty at times. Please make no mistake though, this would have in no way been a sell-out album. This was a band that was fully realizing the diversity they could offer while always still sounding like the Beat Angels. With that in mind, \u2018Liquor Pig Boyfriend\u2019 could have been written and recorded at any point in the band\u2019s life. The rocking gutter glitter glam giving way to an easy to sing hook and beat that will make you want to hop around the room. \u2018Gutter Snobs\u2019 ends the first half of the album with a guitar hook that reminds me of something Andy McCoy might have done post Hanoi Rocks in the 80\u2019s. The chorus here relaxes the backing vocals with the guitar lick being the hook that stays with me after repeated listens.<\/p>\n

Kicking off the back half of the album is the politely titled \u2018Whorehouse Priest,\u2019 which is another of my favorites by the band. Some tasty backing vocals in the background provide the song even more texture and really showcase that the mainstream could have started phasing in the Beat Angels alongside the Marvelous 3 and other turn of the century rockers. \u2018Misery Becomes You\u2019 starts gently before exploding into a straight forward rocker that is an enjoyable album track for me but has not been one I seek out to play on its own.<\/p>\n

The acoustic based \u2018Little One\u2019 again highlights that the band was not interested in writing straight forward ballads. This feels much more like an acoustic based song from the 70\u2019s with its melodies flying out of the speakers and lifting birds into the air. The band then crank the amps back up for \u2018Stay With Me.\u2019 The band lay down an addictive chorus that you want to hear again and again. This remains one of the songs that sadly will never be heard by people and quite honestly feels like discovering a diamond in a mine that was closed. Wrapping up the album is a cover of \u2018Terminal Love\u2019 which fits perfectly on the album. I might have made another song the closer, but that seems like useless complaining when this album was never officially released.\"\"<\/a><\/p>\n

Three albums by a band that never had an opportunity to release an album for a major or well known independent record company that should have catapulted them into the spotlight. The packaging on \u2018Unhappy Hour\u2019 and \u2018Red Badge of Discourage\u2019 are top notch as well so I highly recommend tracking down physical copies of those albums. These albums have remained in my rotation for over 20 years, and I do not see that changing anytime soon. The release of the best of and discovering the third album several years ago were a blessing as I got to hear even more by these guys. If you know these albums, spend some time spinning them and enjoying these songs all over again. If you don\u2019t know them, start searching for them and enjoy some sonic pleasure that needs to be experienced.<\/p>\n

 <\/p>\n

Author: Gerald Stansbury<\/p>\n","protected":false},"excerpt":{"rendered":"

Arizona in the early 90\u2019s generally is known for jangly rock along the lines of the Gin Blossoms, Refreshments, Dead Hot Workshop, Piersons, and\u00a0Pistoleros. That wasn\u2019t all Arizona had to offer though as the\u00a0Meat Puppets\u00a0would see a surge in popularity after being covered by Nirvana, and other bands like Jesus Chrysler Supercar brought in the […]<\/p>\n","protected":false},"author":2,"featured_media":8061,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"image","meta":{"footnotes":""},"categories":[42],"tags":[3283,3270,3275,3277,3268,123,3279,201,3273,231,3284,3274,3271,3272,3281,3269,3267,3276,3278,3282,3280],"class_list":["post-8026","post","type-post","status-publish","format-image","has-post-thumbnail","hentry","category-feature","tag-beat-angels","tag-dead-hot-workshop","tag-epiphany-records","tag-frankie-hanyak","tag-gin-blossoms","tag-hanoi-rocks","tag-hidden-gems","tag-jeff-dahl","tag-keith-jackson","tag-manic-street-preachers","tag-marvelous-3","tag-michael-brooks","tag-piersons","tag-pistoleros","tag-red-badge-of-discourage","tag-refreshments","tag-the-beat-angels","tag-tommy-caradonna","tag-trash-on-demand","tag-unhappy-hour","tag-unhappy-hours","post_format-post-format-image"],"_links":{"self":[{"href":"https:\/\/rpmonline.co.uk\/index.php?rest_route=\/wp\/v2\/posts\/8026","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/rpmonline.co.uk\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/rpmonline.co.uk\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/rpmonline.co.uk\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/rpmonline.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=8026"}],"version-history":[{"count":5,"href":"https:\/\/rpmonline.co.uk\/index.php?rest_route=\/wp\/v2\/posts\/8026\/revisions"}],"predecessor-version":[{"id":8068,"href":"https:\/\/rpmonline.co.uk\/index.php?rest_route=\/wp\/v2\/posts\/8026\/revisions\/8068"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/rpmonline.co.uk\/index.php?rest_route=\/wp\/v2\/media\/8061"}],"wp:attachment":[{"href":"https:\/\/rpmonline.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=8026"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/rpmonline.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=8026"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/rpmonline.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=8026"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}