art One - Next Big Thing


On the set of Rockin’ Talkin’, the host, a dashing -- make that stunningly handsome -- twenty-four year-old male with a shaved head and glasses sits in a swivelling, round-backed, white chair across from Howlin’ Pelle, “vocalist” of the “popular” “rock” “band” the Hives, who sits in an identical chair. The set is sparse; the studio audience is subdued. The host asks Pelle, “Why you?” Pelle, clearly confused, replies, “What do you mean?” The host clarifies. “I mean, Howlin’ Pelle, why you? Why the Hives? Why not Rocket From the Crypt?” Pelle opens his mouth to answer, but then stops. He bends forward, rests his elbows on his knees and puts his head in his hands. “I never thought of that,” he whispers to himself. The host pulls out a noose and hands it to Pelle. The crowd applauds politely as Pelle takes the noose and heads backstage to do the right thing.


There was a time when Rocket From the Crypt was poised to own the world. Scream, Dracula, Scream was supposed to guarantee the band a Greyhound ride to stardom but, because Interscope had other priorities (Marilyn Manson), SDS never sold what it rightfully should have. It was genuinely sad to watch such potent, inspired music go unnoticed by the millions of people who could have benefited from hearing it.


Rocket From the Crypt’s sound has changed since then, but a wonderful reminder of that time of unlimited promise has been unearthed. Long considered to be both RFTC’s finest moment and lost forever, Hot Charity , a 12” pressed solely for sale on the band’s free 1995 tour, has finally been re-released. It is essential. A rousing, hollering rock’n’roll testimonial, Hot Charity is required listening for anyone interested in Rocket From the Crypt, music or happiness. Its nine songs bridge the gap between Circa Now! ’s sweaty anthems and Scream, Dracula, Scream ’s aggressive grease and despite its brevity, Hot Charity is as cohesive and satisfying as any of the band’s full lengths.


RFTC was an ambitious bunch in 1995. Hot Charity actually begins with an instrumental. A dynamic, curt epic, “Pushed” muscles its way in, giving you no choice but to surrender to its Stones-y strut, curled-lip walls of power and un-self-conscious moments of tuneful joy. After “Pushed”, Hot Charity makes short work of you. “Guilt Free” is the hit the band never had. Forceful, sweaty and confident, continually alternating between carefree looseness and undeniable emotion, it just might be the definitive Rocket From the Crypt moment. It displays not only what the band could do, but also what they weren’t allowed to do while on Interscope. A string section drives the song to unbelievable heights and the mix, which almost buries the horns and the vocals, gives a frighteningly accurate impression of the band’s furious live performance, something one can’t say about any other RFTC release.


The remainder of Hot Charity is similarly excellent. “Poison Eye” is relentless, obnoxious and irrepressible with enough brilliant stops and starts to break the heart of even the staunchest math-rock wiener. “My Arrow’s Aim” is a masterpiece that fuses the greatness of Detroit’s two best eras with the volume and power neither Motown nor the MC-5 ever had at their disposal. “Feathered Friends” is the album’s requisite slow track, a rousing, uplifting singsong that eclipses Rocket’s previous attempts at balladry. “Lorna Doom” blasts as dissonantly, furiously and relentlessly as anything the band has ever done. “Cloud Over Branson” (verses as cool as the title), “Shucks” (Latin piano and percussion-addled) and “Pity Yr Paws” (a chorus that must be heard to be believed) are all stellar as well.


Part 2 - The Phoenix


In the 1999 Guiness Book of World Records under the category “Most Frequently Asked Questions: Music”, the top three were:


3. Rap-metal? Are you shitting me?
2. What happened to Rocket From the Crypt?
1. You swear you’re eighteen?


The years after Hot Charity and Scream, Dracula, Scream were unkind to RFTC. Despite touring constantly, the band could not sell enough copies of either SDS or RFTC to keep them out of the red at Interscope. Over a year of inactivity ensued while the band tried desperately to get out of their contract. After successfully severing their ties with what had then become Indurstcope, RFTC began recording again. The first major recording of Rocket Phase III was Cut and Play , another limited edition 12” that quickly disappeared and, like Hot Charity is a gem.


“If the Bird Could Fly” chugs angrily, dispensing with the dense joy of the Hot Charity material and opting for a stripped down, loud-horn, rasp-y voiced attack. Whatever frustration was built up during Rocket From the Crypt’s exile is fully expunged in the first two-and-a-half minutes of Cut and Play .


More importantly, “If the Bird Could Fly” announced to the world that Rocket From the Crypt was still alive. Further proof can be found on any of the remaining tracks. The clanging barrage and infectious “ieeieeieei”’s of “Blood Robots”, the squall that signals the end of the merciless “Waste It”, and the sass of “Hot Wired” and “Who Let the Snakes In” will confirm for anyone that Rocket From the Crypt is still one of the most vital, intense rock’n’roll bands on the planet. God damn. When was the last time you heard any band be described as “rock’n’roll”?


If your heart beats, you need this album. Buy it today; just be sure to give your other 2001/2002 “rock” albums one last listen before you do. You won’t be needing them anymore.