L.A. Guns Albums (17)
What The Critics Say
When all the glam metal bands of the '80s resurfaced once more in the early 21st century, few of those acts were able to boast that all the members from their hitmaking years were present once more. Case in point: L.A. Guns. Singer Philip Lewis and drummer Steve Riley are the only gentlemen remaining from their heady Cocked & Loaded days (as recently added guitarist Stacey Blades and bassist Adam Hamilton are now on board). But the group is still alive and well, as evidenced by the release of 2006's Loud & Dangerous (yes, it appears to be a play on words of Thin Lizzy's classic 1978 live set, Live & Dangerous). Instead of trying to prove to audiences that "if you like the old tunes, then you'll love the new tunes," Lewis, Riley and company wisely stick to the L.A. Guns classics -- especially such one-time Headbanger's Ball favorites "Sex Action" and "One More Reason." And of course, the group's biggest hit, the schmaltzy power ballad "Ballad of Jayne" is included as well. While Loud & Dangerous probably isn't as potent as catching L.A. Guns in a jam-packed Hollywood club back in 1988 (when founding member Tracii Guns was still in attendance), it should please the hairspray-and-headband-wearing faithful. [This edition includes two audio/video bonus tracks, "Hollywood Burning" and "It Don't Mean Nothing," which can be downloaded from the CD if you "insert CD into your computer."] ~ Greg Prato, All Music Guide
What The Critics Say
Here's a little-known glam-metal fact: Phil Lewis was not the first frontman for Sunset Strip favorites L.A. Guns. There were actually a few others who fronted the band before Lewis (Axl Rose was rumored to be an early member), one of whom was a gentleman named Paul Black. The Black-led version of L.A. Guns (which also included Tracii Guns and Mick Cripps, two members who would later appear on the group's recordings with Lewis) managed to demo quite a bit of material during their short tenure together, which serves as the basis for 2005's Black List. As expected, these '80s-era demos are not exactly up to snuff sonically with the eventual studio albums by the group, but for hardcore fans, there are a few areas of interest. Tops on the list would be early versions of a pair of tracks that would later turn up on the group's self-titled 1988 debut, "Show No Mercy" and "One More Reason to Die," while the rest of the tracks never appeared on any L.A. Guns releases. As evidenced by such tracks as "Love and Hate," Black's vocals were reminiscent at times to those of W.A.S.P.'s Blackie Lawless, while the album-opening "Stranded in L.A." shows that the group was harder edged than the local competition at the time (Poison, Warrant, etc.). ~ Greg Prato, All Music Guide
What The Critics Say
What keeps Tales from the Strip from being a truly great album is twofold: (a) the complete disappearance of founding member Tracii Guns, and (two) the lack of cohesion between songs. Tales from the Strip is L.A. Guns' homage to the sleaziest strip of land in L.A. for glam rockers of decades past. But this could have been a fantastic song cycle with a little forethought. It's a commonly known fact that every metal band should have a reasonable concept album within their discography, and with over two decades' worth of releases under their belts the Guns are long overdue. Small thematic misstep aside, the band's performance song after song doesn't really shatter expectations or break any genre-cemented rules. It's simply rock & roll (aside from the gratuitous "haunting" acoustic number) for those who want to rock without stuffy conceptualism bogging it down. ~ Rob Theakston, All Music Guide
What The Critics Say
Founding members of L.A. Guns, Tracii Guns and vocalist Phil Lewis have concocted a solid outing with producer Andy Johns on Waking the Dead, the follow-up to the band's 2001 debut for Spitfire Records, Man in the Moon. More than just a commendable effort by L.A. Guns, the work of Andy Johns is not to be overlooked. In the '70s it was producer/engineer brother Glyn Johns who had the higher profile, and when Andy did produce, as with '80s metal band Cinderella, it came off -- much like the work of another engineer/producer, Ron Nevison -- as homogenized black-and-white musical photographs for the ear. Waking the Dead is a triumph for Andy Johns as much as it is for L.A. Guns, and the fabulous and hooky "City of Angels" has all the elements a driving pop song needs -- throbbing bass, precision drums, singing guitars, and great vocals with catchy phrasings. It's one of those songs you absolutely have to turn up when it comes on. The CD opens in no-nonsense fashion with "Don't Look at Me That Way," the same theme as the tune by Nervus Rex from the '70s, but much more firm in approach. "O.K., Let's Roll" is the subject matter Neil Young explored on "Let's Roll" from his Are You Passionate? CD, and the problem with these songs about 9/11 -- Mark Farner's "Red, White and Blue" included -- is that, while they are certainly heartfelt and respectful, the feel is awkward and a bit unnerving. When compared to the title track here or the driving "Revolution" (with elements of Cheap Trick and Mott the Hoople in the lyrics), "OK, Let's Roll" feels forced. "Revolution" plays like a great Alice Cooper single from the '70s, tight as a drum and appropriate for radio in the new millennium. It's a brilliant slice of rock & roll, up there with Ian Hunter's mini masterpiece, the song "Ripoff." "The Ballad" is just that, a ballad to give the listener a break. Throughout this effort, the sounds of Andy Johns continue to impress, light years away from his work with Hungary's 1970s export Locomotiv GT, the producer/engineer surrounding "The Ballad" with an eerie atmosphere allowing the guitars to come up in the mix splendidly. "Frequency" is a great change of pace as well, jungle rhythms and Black Sabbath riffs cut to half time. "Psychopathic Eyes" takes things even further, delving into punk. It's the Ramones gone metal, and different from the identifiable groove on much of the disc, but it fits in perfectly. "Hellraisers Ball" gets back to the basics, but it is "City of Angels" and "Don't You Cry" that give Guns N' Roses at their best a good run for the money. ~ Joe Viglione, All Music Guide
What The Critics Say
On Man in the Moon, a reunited and revitalized core L.A. Guns lineup spice up their '80s West Coast sleaze rock with some pop and modern rock elements. With the mostly original lineup (Phil Lewis on vocals, Tracii Guns on guitar, Steve Riley on drums, Mick Cripps on keyboards, and bassist Muddy) getting back together in the studio for the first time in over half a decade, L.A. Guns were probably hoping to relive the glory days of Cocked and Loaded. The results are a little mixed on this 2001 Spitfire Records release. Guns' guitar work is as fierce as ever and Lewis' whiney, but confident vocals are appropriately true to the singer's '80s rock past. But these two critical elements don't always work together on Man in the Moon, due in large part to some less-than-inspired material. While the clean, tight production has a positive, immediate effect on the muscular riffs, it also exposes Lewis' less-than-accurate pitch, as the singer attempts melodies that seem ill-suited for his voice. A bit of a mixed bag, Man in the Moon has a few bright spots, but unfortunately can't compete with L.A. Guns' prime late-'80s material. ~ Vincent Jeffries, All Music Guide
'Live! A Night on the Strip'
Release Date 2/8/2000
Tracks 22
Label Cleopatra
See Album Tracklist and Review
What The Critics Say
Recorded appropriately enough on the Sunset Strip in Los Angeles, Live! A Night on the Strip commemorates an October 7, 1999, performance by LA Guns at the Key Club on Hollywood's Sunset Boulevard, right in the heart of what was glam rock central during the group's late-'80s heyday. It had been awhile since the classic lineup of Philip Lewis (on vocals), Tracii Guns (on lead guitar), Mick Cripps (rhythm guitar), Kelly Nickels (bass guitar), and Steve Riley (on drums) had joined up on stage to perform all of L.A. Guns' sleazy hits, and judging by the energetic performances, they were excited about that opportunity. From the first guitar strains of "Face Down" all the way through the closing moments of "Rip N' Tear," the group stomp and howl like it's 1988 all over again. For these guys, maybe nothing changed as their music and attitude comes through on Live! A Night on the Strip like they mean every word and every note. Hits like "Sex Action" and "Kiss My Love Goodbye" work their smart-mouthed magic, as do lesser-known but equally rocking numbers like "One More Reason" and "Nothing Better to Do." All in all, this is a fine effort that fans of the group -- especially of the band's live performances -- should enjoy. ~ Vincent Jeffries, All Music Guide
What The Critics Say
Produced by Guns N' Roses' Gilby Clarke, Shrinking Violet is a harder-edged return to L.A. Guns' roots in sleazy, crunching glam-metal a la Kiss and Mötley Crüe. Ex-Love/Hate singer Jizzy Pearl adds some street grit, as does Clarke's restrained yet muscular production. Although a few tracks are too long and begin to meander after a while, the songwriting is actually quite consistent overall; the end result is a surprisingly focused and effective album by a band that appeared all but spent as a creative force. ~ Steve Huey, All Music Guide
