What did I know about Faster Pusscat until today? Nothing. I came across them while digging through online lists of 80's hair and glam bands. That same list that led me to Warlock and Hanoi Rocks. Those Retro Spins turned out to be worthwhile, so hopefully I can keep that trend going.
Formed in 1985 by Taime Downe, they'd come up in the Hollywood, California scene among the likes of Mötley Crüe, Guns N' Roses, L.A. Guns, and Vinnie Vincent Invasion, to name a few. Initially, the lineup consisted of Downe on vocals, and both Greg Steele, and Brent Muscat on guitars. Several members would fill in on bass and drums before eventually Kelly Nickels and Mark Michals came along.
The L.A. strip was a feeding frenzy for record labels, who were eagerly signing glam and metal bands as the next big thing. As a result, Faster Pussycat quickly got an offer of their own, joining Elektra Records. Unfortunately, leading up to the recording of their debut album, Nickels would be severely injured in a motorcycle accident, resulting in Eric Stacy taking his place. Nickels would later go on to join L.A. Guns.
With the aid of their music videos for Bathroom Wall, and Don't Change That Song, the band quickly made a name for themselves among the heavy metal, glam rock, and sleaze rock scene. Their popularity would only be further boosted as the opening act for Alice Cooper, David Lee Roth and Motörhead in support of their 1987 self-titled debut. This was followed by an appearance in the cult classic rockumentary, The Decline of Western Civilization part 2 – The Metal Years.
While I had no expectations for the album, I was pleased to come away with it feeling it was quite good. Though there weren't necessarily any standout tracks, as a whole, it flows nicely, and each track holds its own, delivering something worth listening to.
It does wear many hats. At times it's straight up rock, but then slides nicely into rhythm and blues, only to end up being metal. What it doesn't do is ever slow down, nor provide any ballads. Mind you, I don't hate that at all.
Downes vocals are unique, to be sure. He's not here to necessarily carry a tune but rather belt it out in your face. Think Axel Rose, if he stubbed his toe, and then got something stuck in his throat. At times, he even reminds me of the Beastie Boys. Loud, raspy, but kind of whiny. Does that make any sense?
But again, it all somehow comes together, and works. It's not a bad record by any means, and I am intrigued to jump into their second, and final album for the decade, 1989's Wake Me When It's Over. That's where I'll be at tomorrow, and hopefully, you'll stop by too to check it out.
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