Tag Archives: Poison

Rocks In The Attic #665: Fastway – ‘Trick Or Treat’ (1986)

RITA#665Watching this film the other night, I was reminded of the decision I made somewhere in my teens that heavy metal was in a really bad place in the mid- to late-1980s.  At school, I was very much like the protagonist of this film – I’d wear double-denim, scrawl things like the AC/DC logo on my schoolbooks, and spend more time laughing than studying. Who knows where that might have ended in a parallel universe?

Thankfully, the appeal of heavy metal stopped where hair metal / glam metal started. I have no interest in listening to music played by musicians who have better hair than the girl next door. I can just about handle Def Leppard and early Ozzy Osbourne, but I avoid pretty everything else from that period. It’s generally very weak-sounding rock and roll, played by men wearing eyeliner and rouge.

When I see people on Facebook posting photos of Mötley Crüe or Poison records, I simply can’t understand the appeal. The cover image of Poison’s Look What The Cat Dragged In should be enough to deter anybody, yet is bandied around as a classic of the period.

I used to work with a guy who liked that sort of music. He was an old-school metalhead, and used to go to Donington’s Monsters Of Rock festival every year in the late ‘80s. I was speaking to him once and the conversation turned to the subject of Nirvana. He couldn’t hide his hatred for the band, seeing them as the reason why hair metal / glam metal had died. I just couldn’t understand this. The logic was that he felt that like he was onto a really good thing with that type of music, and when grunge kicked off, it killed all those bands.

Good riddance.

RITA#665bAs a film, Trick Or Treat owes more than a little to the plots of Halloween III: Season Of The Witch and Christine. The highlight is the appearance of Ozzy Osbourne and Gene Simmons in small cameos, but even this novelty doesn’t save what is ultimately a wishful revenge fantasy with poor dialogue and a weak storyline. Backmasking should never be a plot-device.

The soundtrack features a bunch of dated heavy metal songs from the period by the band Fastway, formed by ex-Motörhead guitarist, ‘Fast’ Eddie Clarke. As with anything from the period, it’s very much hard-rock-by-numbers, and probably does sound better played backwards.

Hit: Trick Or Treat

Hidden Gem: After Midnight

Rocks In The Attic #562: Various Artists – ‘Less Than Zero (O.S.T.)’ (1987)

rita562I watched this film for the first time recently. I’d always been aware of it because it’s one of a handful of notable soundtrack appearances by Aerosmith from around this time. The Aerosmith completist in me searched this record out long before I had a chance to watch the movie.

The soundtrack opens strongly with a Permanent Vacation-era Aerosmith rocking out to a cover of Huey “Piano” Smith’s Rockin’ Pneumonia And The Boogie Woogie Flu. Drummer Joey Kramer is on fine powerhouse form, and the band really sound as young and energetic as anybody else, enjoying their second lease of life in post-rehab sobriety. The record was released by Def Jam, and many of the songs were produced by Rick Rubin, so I can only presume Aerosmith are included as a result of the Run-DMC connection.

The rest of the record – mostly cover songs – is a patchy affair. Poison’s weak attempt at Kiss’ Rock And Roll All Nite belies the whole glam rock movement’s claim to artistic merit, Slayer’s version of Iron Butterfly’s In-A-Gadda-Da-Vida is fun, while the Bangles’ version of Simon and Garfunkel’s Hazy Shade Of Winter sounds like they’re on autopilot.

So I sat down to finally watch the film I knew the music of so well. I really wish I hadn’t. If anything, Less Than Zero resembles the awful St. Elmo’s Fire in terms of its shallow posturing, although it is slightly harder-edged coming a couple of years after that earlier film. As an adaptation of Bret Easton Ellis’s debut novel, I have trouble seeing any of his satire on the screen as it seems to have been overwhelmed by big gloop of late-‘80s Hollywood sheen that engulfs the film.

Something terrible happened as I watched the final act of the film. I got a slap in the face from déjà vu when Andrew McCarthy’s character narrowly prevented Robert Downey, Jr.’s character from taking part in a gay tryst. Then, in the final shot of the film where McCarthy, Downey, Jr. and Jami Gertz are driving off into the sunset, and McCarthy realises that Downey, Jr. has died from a drug overdose, I had a realisation myself. I had seen this film before. I just hadn’t remembered it because it was so forgettable.

Hit: A Hazy Shade Of Winter – The Bangles

Hidden Gem: Rockin’ Pneumonia And The Boogie Woogie Flu – Aerosmith