Tesla Albums (11)
'Real to Reel, Vol. 2'
Release Date 9/25/2007
Tracks 12
Label Tesla Electric Co
See Album Tracklist and Review
What The Critics Say
Wait. Hang on a second. Do your eyes deceive you? You mean this is yet another mainstream rock/metal band from the '80s doing an album of all covers? What an original idea! The list continues to grow -- Def Leppard, Shaw Blades, Poison, and now, Tesla. 2007's Real to Reel focuses solely on covers of classics from the '60s and '70s, most of which have been classic rock radio standards for decades by this point. Which brings up an obvious question -- is it really necessary to cover tunes that you can still hear with a mere twist of a knob on your car radio? Well, obviously the Tesla lads thought it was a swell idea. The group rarely strays far from the original tracks' song structure and sound -- which adds more fuel to the "was this all really necessary?" fire. That said, singer Jeff Keith and guitarist Frank Hannon certainly shine on the material -- all those years playing these tracks at high school Battle of the Bands and basement parties paid off well for them -- and whenever a Thin Lizzy track other than "The Boys Are Back in Town" gets an airing ("Bad Reputation"), and any UFO track gets attention ("Rock Bottom"), you have to tip your cap. But come on -- covers of the three most constantly radio played groups (the Beatles, the Stones, and Led Zeppelin)? Hardcore Tesla fans may get a hoot out of hearing their heroes cover the classics, but the rest of you who already have the originals on your iPod can move merrily along. Note that a second disc of 12 additional covers will be made available with the purchase of a concert ticket to Tesla's 2007 tour. [The original disc was also released as an fye exclusive.] ~ Greg Prato, All Music Guide
What The Critics Say
Classic hard rockers Tesla were one of those bands that reluctantly hitched a ride on the hair metal bandwagon of the late '80s, only to get bum-rapped on the early-'90s flip side when their career was undeservedly sunk alongside those flaming chunks of hairspray and mascara. Unable or perhaps unwilling to cope with culturally enforced grunge exile thereafter, the members of Tesla chose extinction instead, quietly going their separate ways after touring in support of their fourth studio album, 1994's understated Bust a Nut. The fact that they also resisted the temptation to join in the minor spat of pop-metal nostalgia heard in the late-'90s also speaks volumes about their true nature, and makes their eventual return with 2004's Into the Now all the more worth investigating. And sure enough, for the most part, Into the Now is a prototypical Tesla album: heavy, melodic, focused, and -- when in doubt -- understated. Indeed, like the songs that earned them millions in their heyday, new tracks like "Look @ Me" and "Heaven Nine Eleven" are perfect studies in reined-in virtuosity, their grooves and hooks ever spotlighting the essential strengths of the almighty song. The odd bit of synthesized drumbeats is the only visible concession to fashion (note its disappointing and pointless inclusion in the acoustic foot-tapper "What a Shame"), but thankfully, gets dropped from the menu as quickly as it was added. Elsewhere, "Words Can't Explain" locks into a pleasant Southern rock feel, "Caught in a Dream" is a heartwarming acoustic ballad for the ladies, and "Miles Away" is the album's grand, Led Zeppelin-by-way-of-Def Leppard mini-epic, its ample contrasts of light/shade and backdrop string arrangements eliciting flashbacks of "Kashmir" almost as much as they do "Die Hard the Hunter." Vocalist Jeff Keith is reliable as ever throughout, his voice sounding all the better for the nicotine ravages of time, while guitarists Frank Hannon and Tommy Skeoch resurrect their six-string harmonies in all their glory for the memorable "Mighty Mouse" and the decidedly psychedelic "Come to Me." In short, like virtually every Tesla album before it, Into the Now takes the back door to one's perception, unassumingly sneaking up on you with the realization "Hey! This is really good!" A classy comeback by a classy band, it's therefore practically guaranteed to please -- not wow -- aging fans with its time-warp sensibilities and authenticity of spirit. ~ Eduardo Rivadavia, All Music Guide
What The Critics Say
Although Tesla was often lumped in with all those unbearable glam metal bands during their first go round in the late '80s/early '90s, they were always a cut above the hairspray set, especially live. Despite being off the road for the latter half of the '90s, when the group reunited in 2000 and started playing live once more, the chemistry was still there -- as evidenced by the 13-track live release Standing Room Only. Issued in DVD Audio (which means it plays on DVD players and is in 5.1 surround sound), Tesla shows why they were considered one of the best live hard rock acts to emerge during the aforementioned era (especially evident in guitarists Tommy Skeoch and Frank Hannon's graceful dual harmonies), as nothing but the classics are included here -- including the expected riff rockers ("Cumin' Atcha Live," "Heaven's Trail"), melodic rockers ("Gettin' Better," "Little Suzi"), and soft rockers ("Signs," "Love Song"). Tesla is certainly back in business, and Standing Room Only is all the proof you'll need. ~ Greg Prato, All Music Guide
What The Critics Say
Like so many of the pop-metal outfits that were huge in the 1980s, Tesla found itself enjoying a lot less MTV exposure when -- thanks to Nirvana and Pearl Jam -- alternative rock became rock's primary direction in 1992-1993. Nonetheless, Tesla still had a loyal fan base, and its followers were disappointed when the band officially broke up in 1996. But in 2001, the Sacramento, CA, headbangers pleasantly surprised fans with a reunion tour, which is the focus of Replugged Live. Recorded on the road in 2001, this two-CD set doesn't offer a lot of surprises -- the Tesla of 2001 doesn't sound any different from the Tesla of the 1980s. But then, no one expected the band to start emulating Sevendust or Limp Bizkit in an effort to sound more contemporary. On Replugged Live, Tesla excels by sticking with what it does best: bluesy, melodic pop-metal -- and the Californians are focused and inspired on tight performances of old favorites like "The Way It Is," "Modern Day Cowboy," "Heaven's Trail (No Way Out)," and the power ballad "Love Song." The thing that ties all of the performances together is a love of the blues. For all its pop-metal gloss, Tesla never forgets about rock's blues heritage -- which is one thing the band has in common with Aerosmith (one of its major influences). Two CDs worth of live material is more than a casual listener would need; casual listeners, in fact, would be better off starting out with Geffen's 1995 release Time's Makin Changes: The Best of Tesla. But for seasoned Tesla enthusiasts, Replugged Live is a bluesy pop-metal feast. ~ Alex Henderson, All Music Guide
What The Critics Say
At a time when image was virtually everything, Sacramento rockers Tesla brought a refreshing balance of flash and substance to the late-'80s hair metal landscape; they may have played the poser game to a certain degree, but only as much as they had to in order to mask their blue-collar origins and slip their oftentimes quite adventurous and sophisticated songwriting under the overhanging clouds of hair spray that were dulling listeners' minds. Both of their first albums, 1987's Mechanical Resonance and 1989's career best The Great Radio Controversy, fared especially well thanks to this blend of brains and brawn (touring with Def Leppard didn't hurt), but as the '90s dawned and the specter of grunge loomed over the horizon, Tesla's more natural inclinations began coming into focus -- first via 1990's stripped-down Five Man Acoustical Jam (literally the template that sparked the entire "unplugged" craze of the next decade), and then on their third studio album, Psychotic Supper, which mashed a few convincing pop-metal hits with moderate stabs at the Black Crowes' roots rock purity. Nevertheless, though they may have been a tad confused about their overall direction, Tesla were certainly more aware and better equipped to cope with the flannel revolution, but their fate was unfortunately tied to their more flaccid contemporaries, and so there was little that their excellent fourth album, 1994's Bust a Nut, could do to salvage the situation. In fact, Bust a Nut's only major flaw was exuding a palpable sense of resignation in the face of impending doom. Otherwise, excellent songs like "Shine Away," "Need Your Loving," "Mama's Fool," and "A Lot to Lose" -- with their classic rock riffs, clever acoustic passages, and memorable choruses -- would have served the band very well in a less hostile musical climate. But, sadly, times had changed dramatically and their record label, Geffen, was clearly more interested in promoting Nirvana, ultimately convincing the members of Tesla to go on indefinite hiatus after the conclusion of their next tour. ~ Eduardo Rivadavia, All Music Guide
What The Critics Say
Psychotic Supper benefits from a more stripped-down production than The Great Radio Controversy, using fewer overdubs and thereby enhancing Tesla's bluesy, acoustic-tinged rock & roll. Going over the top was never what Tesla did best, and Psychotic Supper shows enough variation and occasional understatement to retain the listener's interest. Many of the band's best songs are here, including "What You Give," "Call It What You Want," "Song and Emotion," and "Edison's Medicine"; the latter is perhaps the most typical of the pop-metal anthem sound, but its subject matter -- the attention paid to Thomas Edison over lesser-known genius Nikola Tesla, to whom the band is obviously devoted -- certainly qualifies it as distinctive. The guitar workout on "Don't De-Rock Me" is another highlight. ~ Steve Huey, All Music Guide
'The Great Radio Controversy'
Release Date 10/17/1990
Tracks 13
Label Geffen
See Album Tracklist and Review
What The Critics Say
One of the band's best albums, The Great Radio Controversy retains the typical big-sounding production and anthemic hooks of '80s pop-metal, but Tesla adds a grittier, bluesier edge to their music than most of their peers. As on most of their records, Tesla's songwriting is consistently good but never quite great; however, "Love Song," "The Way It Is," and "Heaven's Trail (No Way Out)" are among their best, with melodies and riffs that aren't predictable, cookie-cutter product. The Great Radio Controversy broadens the sound of Mechanical Resonance somewhat with increased use of acoustic instruments, which provides more textural and dynamic contrasts, and the weaker moments are still enlivened by the twin-guitar attack of Frank Hannon and Tommy Skeoch. All in all, a fine effort. ~ Steve Huey, All Music Guide
'Five Man Acoustical Jam'
Release Date 1/1/1990
Tracks 14
Label Geffen
See Album Tracklist and Review
What The Critics Say
Comparisons to MTV Unplugged tend to be thrown around in an attempt to promote any pre-Unplugged acoustic music by linking it with a successful, more contemporary phenomenon, but Tesla's Five Man Acoustical Jam was actually a legitimate predecessor of the trend -- it bears a strong resemblance to early Unplugged sessions in its informality and sense that the band is just having fun. Perhaps more importantly, the fact that a cover of the Five Man Electrical Band's "Signs" became a Top Ten hit demonstrated that acoustic rock & roll -- not just ballads like Guns N' Roses' "Patience" or Extreme's "More Than Words" -- could find acceptance and commercial viability with rock audiences. As for the musical results, Tesla's originals generally translate well to the acoustic format, though some of the jams tend to ramble and lose focus, a fact underscored by the tightly melodic covers of '60s classics like "Lodi" and "Mother's Little Helper." Still, this adds to the informal atmosphere, and the album is a nice change of pace from the rest of Tesla's catalog. ~ Steve Huey, All Music Guide
