Wednesday, July 18, 2018

RICHARD THOMAS (a.k.a. RIKKI LIXX of Rev Theory) "Standing In The Fire" (Book Review)

(c) 2017 Deus Crux Publishing

Few will know who Richard Thomas is when they pick this book up, but all will know who he is...and more importantly, what he stands for...once they have finished reading.  Such is the goal of this autobiography of a young guitar virtuoso who began experimenting with drugs and alcohol by the age of 10, yet still managed to climb to rockstar status, while hiding his addictions until those same addictions, combined with isolation and depression, nearly took his life.  This is the story of how Richard Thomas became Rikki Lixx, found himself a pawn in a self-described "spiritual warfare" between God and Satan, escaped death, and came out the other side as a follower of Christ and happier and healthier than he had been at any other point in his life.  

The book starts with Thomas describing his young life as a young kid infatuated by the rock n roll lifestyle of his favorite band, Guns N Roses, while his home life fell apart due to the divorce of his parents and a self-described lack of supervision as his mom worked to support Richard and his siblings.  He talks of  being raised in large part by his grandparents, who "employed him" around the house so that he could earn money to buy his first guitar, which he soon became obsessed with.  By the age of 10, Thomas had started his first band, Twilight's Misery, and had "started drinking and doing drugs.  On a bad day I would drink close to a gallon of whiskey and a case of beer, not to mention all the drugs I was mixing with the alcohol."  By 11 Thomas had lost his virginity, by 12 he had experimented with cocaine, and at one point, he even went so far as to huff propane from a friend's grill to get high.  He was truly "living the rock n roll lifestyle" before he even reached his teen years!  Thomas looks back now on these incidents and can clearly point to indications of actual spiritual demons at work in his young life, but not having the tools or knowledge to resist the evil they were plying against him.  

From there, the book chronicles Thomas's life through special music schools that honed his musical abilities (he had guitar sessions at Berklee College of Music in Boston, the Governor's School for the Arts, CAPA, and others), and his succession of small, local bands, hearing himself on the radio in Philadelphia, and eventually his big national break replacing DJ Ashba (Sixx AM/Guns N Roses) as the guitar player in Operator, a hard rock band with a big label recording contract.  Assuming the name "Rikki Lixx" (suspiciously close to Motley Crue's Nikki Sixx...), Thomas found himself on a national tour and soon falling into the trappings of life as a guitar god rockstar.  But it wasn't until a couple of years later, when he joined Rev Theory, that Thomas's rockstar life would reach its highest peaks and then crash to its greatest depths, as he drowned in an ocean of alcohol, choked down handfuls of pills, and eventually decided to take his own life.

Interspersed throughout with commentary from various people from Thomas's life (M. Shadows from Avenged Sevenfold, Paul Philips and Greg Upchurch of Puddle Of Mudd, Tony Palermo of Papa Roach, Anthony Greve of Pop Evil, Jenna Guns from the Sirius/XM Octane radio station, and many others), Standing In The Fire is not the type of sin-to-salvation book that many are accustomed to reading, most likely.  With language that many would consider to be too coarse, vulgar, or profane (swear words are changed only with the addition of symbols, such as "s*!t", for example), frank descriptions of nudity at the Playboy mansion, and references to infidelity, prostitution, strippers, and obviously lots of drugs and alcohol, this is not a book that is attempting to preach to the choir or save the saved.  Instead, Standing In The Fire is more of a cautionary tale for those who may be desiring the things Thomas describes here, or for those who find themselves already surrounded by the types of depravity outlines here, and an invitation to find a way out before things get as out of hand and as seemingly hopeless as they had become for Thomas.  As such, Thomas outlines how he came to accept Christ as his Lord and savior, how his life has been changed, and how he is now able to see the spiritual warfare that surrounded his life every day while pursuing the life of a national rockstar.  

A short book, Standing In The Fire is an easy read (I finished in just under three hours over a couple of days), with only 10 chapters spread across 140 pages.  There are a few minor editorial/grammatical errors, but nothing that is overly distracting, and Thomas does jump around a bit at times, although he always manages to redirect himself back to his original point in the narrative. There are several pages of black and white photos included, as well.

Inexpensive and available in both paperback and eBook form from Amazon, Standing In The Fire is an interesting read, but not for the feint of heart.  While nowhere near as dark or graphic as Nikki Sixx's Heroin Diaries, Standing In The Fire still doesn't pull many punches in its description of the hedonistic, drug-adled life the author was leading, although his story of salvation at the end...along with numerous mentions of his faith throughout the book...is something not found in other, similar books.

Deus Crux Publishing (self-published)
Black & White Paperback or eBook 
140 pages


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Thursday, July 5, 2018

RED "Gone"

(c) 2017 Provident

  1. Step Inside, The Violence
  2. Still Alive
  3. Losing Control
  4. Gone
  5. Coming Apart
  6. Unstoppable
  7. Fracture
  8. Chasing Your Echo
  9. A.I.
  10. Singularity


Michael Barnes--Lead Vocals, Keyboards, Piano
Anthony Armstrong--Rhythm & Lead Guitars, Backing Vocals
Randy Armstrong--Bass, Keyboards, Piano, Backing Vocals

Additional Musicians
Joe Rickard--Drums, Percussion

The band Red returned to the scene late in 2017 with their newest offering, Gone.  Now relocated to Nashville from their home in Pennsylvania, the Armstrong brothers, along with vocalist/keyboardist, Michael Barnes, largely continue in the same stylistic vein of symphonic, electronic alt rock/metal intermixed with elements of grunge/post-grunge that has garnered them several Dove Award (think Christian-only Grammys) nominations and awards, as well as multiple Billboard-charting albums, and nearly 1.5 million albums sold dating back to 2007.  Former member Joe Rickard also returns as a "studio musician" on drums, so the same band that has been releasing albums since 2009's excellent Innocence & Instinct, is back for one more...and perhaps final...go-round (more on that in a few minutes). 

Returning to generally shorter, less-orchestral songs, which at times left 2015's generally great Of Beauty And Rage album feeling bloated in spots, Gone finds the band a bit more aggressive right from the outset, as the dirty, grungy rock of "Step Inside, The Violence" feels like the angry electronic-infused grunge rock that Filter made so popular with "Hey Man, Nice Shot".  Barnes is in fine, angry form vocally, and the guitars are crunchy and edgy as they swirl and churn throughout the track, bolstered by keyboards and electronic elements and Rickard's big drum sound.  "Still Alive", one of a couple of tracks that were pre-released as singles, follows things up nicely with an intense, uptempo rocker that really hearkens back to Innocence & Instinct, without sounding like something that was a left-over idea or cutting room floor track.  Probably my favorite track on the album, "Still Alive" contains just enough synth and electronics to keep the alt metal crowd happy, while also combining a huge amount of crunch from the guitars and the rhythm section.  Barnes vocals are as strong as ever here, easily soaring above the fray with piercing high wails and edgy screams alike to give life to lyrics that plead with desperation and angst.

The album's title track follows and things start to unravel for me, at least for a few songs.
"Gone", the song, adds a bit more of the atmospheric approach that the band has come to be known for, but they also mix in some odd...I guess you'd call it dub-step...looping after the chorus sections, and they start to lose me a bit.  Barnes still sounds great, but the guitars sound like they are on autopilot, with nothing overly interesting going on, and the keys and electronic elements kind of take over the track.  "Coming Apart" is the first true ballad on the album, but it is just so plodding and slow-moving that it really chokes some of the life out of the album at this point.  Barnes adds a breathy quality to his vocals that I'm not overly enamored of, and the synth and keys just don't have enough oomph to overcome the slow pace the track moves along at.

And then "Unstoppable" hits, and ironically, the album just about stops for me.  This song is just so repetitive, so poppy, so...un-Red...that I pretty much skip it whenever it comes on now.  The programmed drums do nothing for me, the guitars are basically non-existent,  and even the lyrics are juvenile and lacking in any kind of depth.  This really isn't a good song, and I started to grow concerned that the remainder of the album may be headed down this road.

Fortunately, "Fracture" finds the band in better territory musically, as does "Chasing Your Echo", both of which find the band hitting a bit harder in the chorus sections, while throttling back a bit in the verse parts, giving them both some nice diversity.  Electronic elements are present in both, but the guitars have more life, more urgency, and help to drive the songs forward.  Barnes breaks into full-blown screaming on "Chasing..." as well as the following track, "A.I.", which finds the band looking back a bit to the bigger, more symphonic style that was so prevalent on Of Beauty And Rage.  Easily my favorite of the slower moments on Gone, "A.I." is a nice bridge between styles.

The record closes with "Singularity", which is an okay song...not great, but not horrible...although I'm not a big fan of the spacey electronics used in a couple of spots, and I found myself growing increasingly anxious for Barnes to just absolutely cut loose.  Its a bit frustrating because I feel like the album really ended on a whimper when a bang was needed.   

In the end, my basic complaints would be that the record comes off as rather disjointed.  At times it hits nice and hard and finds the band going back to what it did so well with its early success, changing things up now and again with some symphonic touches and some atmospheric moments. But then Gone gets all poppy in the middle, and honestly a bit boring for a stretch, which really reduces the album down to an EP of good material.  The production is, overall, really good, and the songwriting is still strong overall, with deep, thought-provoking (for the most part) lyrics that challenge both the Christian listener and the listener who just drops in for a solid dose of symphonic alt metal.  While not the pinnacle of the band's career, Gone is by no means a horrible album, with a couple of tracks here being among my favorite ever from the band; they just need to leave the poppy stuff for the poppy bands, and toss in another blazing rocker or two.  Hopefully, there is no truth to rumors that the band may soon be "gone" from the full-album scene, instead opting to release mostly digital singles and the like, because that will likely leave me "gone" from the Red fan base.  

For newcomers to the band, I wouldn't recommend Gone as the starting point, rather steering people in the direction of the previously mentioned Innocence & Instinct, or the one I find myself returning to more than any other Red album, which would be End Of Silencewhich features several of the band's better known songs, including not one but two Christian Rock Songs of the Year (for 2007 and 2009)...and a nominee for that same award in 2008!  That's some serious impact from a single record!  In fairness, I could imagine "Still Alive" from Gone garnering similar attention, which would be cool to see from a band working on its second decade of existence.

Rating:  Rock-worthy without question, give Gone a 6.5, but know that it could have been so much more.



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