Nov 11, 2017 - By Rocket From the Crypt. Eye 300 favorite 0 comment 0. Scream, Dracula, Scream! Sep 23, 2013 09/13. By Rocket From the Crypt. In hindsight, 'Middle' is one of the best opening tracks I've ever heard, but I definitely had to go back and take a second listen.

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This record brought major labels a courting. It’s the first to feature horn section, wellsaxophone at least. This is one of myfavorite rocket outings. Still veryangular, a la Drive Like Jehu, but tons of killer rock riffs.

The opening track 'Short Lip Fuser'builds up with noise and feedback, and explodes onto the listeners face withglory. Circa now really starts to showcase Reis's ability to put great melodyand hooks into aggressive, guitar driven rock/punk.

His more honed vocaldelivery pays off big time. This record definitely put RFTC on the MTV gen x buzz bin radar,as video clips document.

Dancing all over the lines between pop sensibility andpost punk angularity made it a perfect album for the music climate of the early90’s. This album is still a huge influence on my song writing.

Hottest joints “ShortLip Fuser”, and “Sturdy Wrist”. One ofthe coolest moments, is the end of 'Glazed'.

Layeringmadness erupts into analog tape distortion mixed with a chorus of 'Everybody smoke pot! Everybody smoke pot!' Eight minutesong for the win! The reissue bonus tracks are decent, but nothing special. The track 'Do You Compute' limps along and refusesto break apart.

In comparison'Luau' beats down door with the same mid tempo, but rather thanshamble along, like the previous song, this track comes at you with purpose.Epic enough to be a closing track, but no, it's only track 4.sheesh. Song 5, “Super Unison” is the stand out sofar, it's one of the longer songs, but unlike some of the others, and it’s straighterforward. There's a moment at about 4.30 that pretty much inspired all ofCedric Bixler from ATDI's delivery, IMO. A year after the final DLJ record, after adding trumpets,RFTC is back with vengeance. Opening track 'Light Me' sets the moodwith keys, shakers, horns, all that is the essence of RFTC.

After the long winded songs of the last DLJrecord, these 1.30 songs are a welcome break. Short and nasty, like a goodfuck. “Human Torch” is probably the best track.

'Here's to you humantorch, you're so fucking lame.' “Human Spine” is a great closer, organdriven, bouncy, and 6 minutes long, which seems ridiculous after a bunch ofsuper short tracks. The CD reissue has 2 bonus tracks; covers of a 60s band'The Music Machine”, which were from a 7 inch, I believe. Both of these tracks could be RFTC tracks,especially circa “RFTC”. Gotta check this band out after my challenge.

Okay, so here we go. Scream Dracula Scream. This is THE record formost. My first exposure to RFTC wasseeing them open fo the Foo Fighters on this tour. This record has the best opening 1,2,3 punchof any record.' Middle”,”Born In 69”, into “On A Rope.'

With such a powerful opening, there’s boundto be some lulls on the record. 'Used'is a nice break from the blistering rock, catchy 60s sounding pop song.' Misbeaten' gives us another R&B/garage rock throwback, completewith 'ooh la la's' and farfisa organ.

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Track 13, “salt Future” startsto bring the album down (in a good way). Both sleazy and anthemic, it's definitely a stand out 'deepcut'. The closer “Burnt Alive”serves as a nice epilogue to a classic record. The main riff is VERY foretellingof what Hot Snakes will.

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3 years after SDS brings us toRocket’s most accessible, commercial record. It's very much a 60s R&B record onoverdrive, and according to the liner notes it was tracked live. Tight, crisp,pretty much a flawless record. Why they didn't blow up into the mainstream isbeyond me. I got to see them on this tour, it was awesome.

Eye on you is aperfect opener, featuring the vocal stylings of the charming Ms. HollyGolightly (check out her catalog). RFTC is pretty much a tour de force, hugehooks, killer riffs, everything you could possibly want in a rock & rollalbum. The pacing of the first half isnonstop, tracks crash like waves one after another barely giving the listenertime to breathe. 'Lipstick' is a single I've never really loved, butit serves as nice transition into the swagger of 'You Gotta Move'. 'Your Touch' is one ofthe record’s highlights, the verse is driven by hammond organ and a driving bassline, before opening up into a huge chorus.

'Let’s Get Busy' isprobably RFTC's sappiest song, and it's amazing. 'dick on a dog'starts to bring the tempo back up, I mean, how could a song called 'dickon a dog' not be a party starter!? The swanky saxophone, andhuge chorus of 'run kid run' provide a more than suitable closer forthis record.

As I said before, it's the most polished and streamlined recordthus far, and I'm sure it was Reis's direction rather than major labeldirection. Hot snakes brings Reis back together with his former bandmate Rick Froberg. According to WIKI Reis wrote and recorded guitar and bass onthese songs with the drummer of Delta 72, and then got in touch with Froberg tosing on the tracks and apparently play some guitar.

Hot snakes melds the simplicity of RFTC withthe Angular Abrasiveness of DLJ. Not as meandering as Drive, and Not as melodicas rocket. Great punk/post punk sounds. Froberg’s vocals are more controlled,but are delivered with as much cynicism and ferocity as could be. Reis's guitarplaying here lays the ground work for a lot of his 'signature sound.' Huge riffs, angular, but melodic, but unconventional? The guitar tone on thisrecord is incredible, clear, overdriven; the sound of telecasters pumpedthrough Cranked Vox amps.

Track 4, 'salton city' takes a break from the blitzkriegof the first 3 tracks, and brings some weirdness. Very open, airy, driven by aby drums and vocals. Track 7 is my favorite 'our work fills the pews'mid tempo, rad shouted backups by Reis, lots of swagger on this joint. Reistakes lead vocals on 'mystery boy'.

It has sweet space ship sounds(ohanalog delay pedals) and could have been a RFTC song off “Group Sounds”, very cool track. Just seems abit out of place. All in all a soliddebut. The second half is much betterthan the first. I’ve heard all these before, but I'm looking forward to seeinghow the progression fleshes out. Opener 'just a fool (that’s down)' is actually myringtone. It’s a jammer, and a fucking great song.

This album rules. About halfway It does get a little redundantat times, track 6 pretty much plays just like the opener, but lacking half theintensity. The following track, 'it'sover' brings it back right around. This song sounds like it could have been a Night Marchers song (one ofReis's upcoming projects).' (This Ain't No) Solid State' is anotherstand out track. Some of these songs definitely could have found their home ona RFTC album, but all in all, The Sultans first release is a solid listen.

I have somany reviews in the pipeline that I have sort of developed writers block, soin order to recharge my batteries I have decided to review an album that I havenot listened to in many years that I used to play religiously. But notone of my big hits, something that I loved but I did not play to death andended up mundane and drab. Which brings me to this album here, 'Scream,Dracula, Scream!' By Rocket from the Crypt. When this first came out Ihad it on CD and record (or vinyl if you are a hipster), one for in the houseand one for travelling back in the days when music was more important thatother things (music is still a high priority, but so is having a roof over myhead). I remember that summer as I listened to this in a loft, lookingout of the window and time seemed to be going forever. But the album isnow 21 years old, and I am no longer a young man; but I am not having amid-life crisis and wanting to buy cars and have a confidence crisis - I amjust wanting to see if this album still holds the magic that it had for me allthose years ago when I first fell under its charm.

Brief back story tothe album itself; Rocket from the Crypt formed in 1989 and this was theirfourth album, it is their best known in the UK and it was their highestcharting album at 41. The album is a trilogy of releases from the band in 1995(together with the album 'Hot Charity' and the EP 'The Streets of Art is onFire'). It also had three singles in the top 75, with 'On A Rope'reaching number 12, they were on lots of TV shows and looked like they wouldtake over the world; however, they just seemed to keep at the level that suitedthem. However, it is not the future of the band I am talking about, it isthis album and now it is time to see how it has aged and if it is still thepowerhouse I remember to be.

'Middle'starts this album, it is not so much a song as an explosion of riffs, drums andhorns; the words are - Are You Stuck In The Middle, Are You Broken, Are YouDamn - or various variations on those words. It sounds like 'FeelGood Hit For The Summer' by Queens of the Stone Age before they took theidea and added Rob Halford and it is still in my top ten opening track of analbum ever. It sounds like it has attitude dripping from every pour, itreeks of cool and this has not changed since the first time I heard it crackleout of the speakers - this could be a good review. 'Born In'69' is actually the first song I heard from the band, it felt like ashock to the system and made me want to dance around like a silly person; thesedays it just makes me smile as you remember those days when everything seemeddifferent. It is a fun two minute, punk rock anthem that is designed tomake you bounce around and it is not trying to sell you something, be a hipbrand or even be cool - at the time these guys were up against the end ofgrunge and the emergence of brit-pop, you could not have had a differentlook. The chorus has a sick hook that will stick in your mind for agesand it has aged very well indeed.

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Next is 'On A Rope' which (aspreviously mentioned) was their highest UK charting single, it was the only onethat would be played when I went out and it did get the 'Smells Like TeenSpirit/Walk' treatment (songs which you love, but they get over played toomuch. Thankfully, there has been a lot of distance since those dizzy daysand now it just sounds like a fine rock n roll number, mixed in with a littlepunk and with a catchy chorus that is missing from the modern musicscene.

When I was younger it was always this trio of songs that made mesmile, to this day it is still the same. 'Young Livers' was oneof the three tracks to be released from this album, it is a mid-paced punk nroll anthem which has a decent hook, nice riff and the band sound good on thesong; but I have always thought it was not the best track to be a single, itjust lacked the punch of the others and that is still the same now.

Itdelivers the good times and it is a great song to hear live, but it does nothold your attentions as other songs do on this album. Next is thesong 'Dropout', much like most of this album, it is just a rebellioussong that does not have much in the way of lyrical context to dig into; it is asong about dropping out of the system and not giving two fucks about theworld. To this day I still do not know why this was picked over'Young Livers', as good as the other song is performed, this is thesuperior track and still floors me after all these years. It just soundslike it comes from a dark part of the mind of the band, it is pissed off and itjust is going for broke as it has nothing to lose - it is a lost anthem on thisalbum, there is more of them to come (this is probably turning into a loveletter to this album, oh dear.).

'Used' was a song that I didnot appreciate until years later, it is an old school rock n roll song that iscrafted in a truly old school vein and when I was younger it was not a number Iappreciated as much. It just felt a little light, but the older me wantsto smash the back of the younger me around the head and tell him off. Itis just a gem of a track, it has the right amount of boogie, attitude and theperfect mix of sound to give this album a different side. It might not bethe song I would return to the most if I am honest, but it is the most improvednumber for me and that is a big tribute for me as I was not fussed by it at allbefore, now I think it is one of the best on the album. 'BallLightning' however, is a song that has not really hit me; the song itselfis performed as good as good as anything else on the album, it is also a songwhich I can see an argument being made for it being another lost classic fromthe album. But it has always been one that does not make me as excited asother songs on the album, but it has once again improved over the years with aslight surf rock undertone being weaved into the tone of the number. The secondhalf of the album starts with 'Fat Lip' and it sounds like the fightbeginning once again for the band on this song, it has a large dose ofaggression that was missing from other numbers on the album, which to be fairis probably for the best as you need light and shade on a record to make itmore fluid.

This one sounds as if the band were trying to create a songthat captures their chaos and combines the punk and rock n roll, it does itperfectly as they sound fierce and on fire with this number. 'SuitCity' is another song that did not gel in my mind when I was a kid, itjust seemed to fizzle out and go nowhere fast for me back then; but in the hereand now, it has improved massively. It starts with a climbing, loopingriff before the rest of the band join in and take this simple tune and drive itas if the devil himself is on their tails - younger me really knew jack shitwhen it came to music. 'Heater Hands' slows things downslightly, but not the intensity. It is a bruising number that could starta fight in an empty room, it has the devil may care attitude and does not givetwo fucks what the rest of the world thinks. Whilst I has still notwarmed to it after all this time, I can appreciate it for what it is - a goodsong that will have its audience and sound like a party is about toerupt.

'Misbeaten' is more rock n roll than punk, it has thatold school vibe that would not be out of place in a 50's era movie and would beused to give the audience a break in their live shows. Out of the (forwant of a better word) gentler sounding songs on the album, it is still the onethat makes me smile the most, it just seems to go back to a time when the songswere innocent and everything had hope and high prospects. The song itselfis not so innocent as it is a song about rejection, something that is familiarin many love song; it is a hidden gem on this album and is one that peopleshould not skip over. 'ComeSee, Come Saw' however is a song that keeps on improving as the years goby for me, each time I listen to it I just wonder why it was left as an albumtrack when it is one of the best the RFTC ever wrote (much like'Dropout'). The bass and drum combo at the beginning indicatesthe way that the song is going to go as it pulses along and grabs yourattention from the start, shortly to be joined by the guitars, brass sectionand vocals as the band into another high-octane, punk rock spliced with a largedose of rock n roll and streak of attitude that can probably be scene from theinternational space station (that last bit might be a fib). Thepenultimate track is called 'Salt Future' which takes the pace downto a rebellious stride and makes a noise that would not be out of pace in arock n roll gang style war; greasers and jocks are about to have a brawl andthis is the soundtrack to the fight. It is a great little number andwhilst it might not be the song I would go to straight away on the album, Ihave always had a soft spot for it as it just oozes style and confidence.Ending the album is 'Burnt Alive' which takes even more out of thesound, the guitars are toned down, there is an organ attached to the song, thedrums sound as if they are being hit like a heart beating fast whilst driving afast car, the brass section drives the number higher and gives this song adistinct sound to the rest of the album.

Again, this is a song which Idid not appreciate when it first came out and it is only years later when ithas made sense; but not I just smile each time I hear it and it is another of myfavourite songs off this album.This album has matured incredibly well, considering there is a ton of albumsfrom that time which now sound like hyped up pieces of shit. The songshave taken on a life of their own for me, it is no longer the going out album thatI used to listen to. It is an undiscovered gem of a record that showed aband at one of their peaks. It is not the deepest of records, it cannever be accused of talking about the big issues of the day; but that is notwhat Rocket From The Crypt are about, they are just a rock n roll band who aretrying to bring the party to you. I love this record, it is about twotracks too long and I do not care - you would be a fool not to listen to is!Scream for them interlink!!!!8.5 out of ten - Oh, now you have my attention and maybe my money, time andheartTop track - Dropout. ATTIWLTMOWOS used to be a review blog, but that has changed.

There is nothing to download here - only previous reviews, there were no free downloads, only to either Spotify, Amazon or the artist themselves. Supporting artists was the idea with that one. All views given on this blog are only the opinions of the person who has written the blog and they are to be taken with a pinch of salt.

If you disagree, that is your choice, just as it is the reviewer's when they post their thoughts and views. Also, any photos used are from sources such as Wikipedia or Amazon - we aim to get free images where ever possible. All copyright belongs to the person who painted the image, the photographer, the graphic designer, the artist/bands in question obviously and as stated above there are no illegal downloads linked to this page.If you want to have something reviewed for Bearded Gentlemen Music or to have your music played on Across the Pond on Flytrap Radio, submission can be made at iisfoley1@gmail.com.Thanks to Gordon Armstrong for the use of his photo!