Full disclosure here: I like The Runaways. I’ve liked them since around 1984 or so. Have the debut, and a couple digital things I acquired through nefarious means once upon a time. But, I like them, don’t love them. So, due to that, I never spent a lot of time chasing down the solo material and post-Runaways work of the members, outside of Joan Jett (who I also like . . . but don’t necessarily love). Even Lita Ford I never followed. I was a punk in the 80’s, so Lita’s hairband AOR stylings never worked for me.
With that being said I definitely never chased down Cherie Currie’s solo album from 1977. Considering her next solo outing wasn’t until 2016, I am going to claim ignorance on Ms. Currie and her solo work and feel O.K. about my statement. I decided, due to this oddly proud claim of ignorance, that I really needed to go back and spend a little time with the previous solo work to get an idea of where she might be coming from with this release. To be honest with you, I am glad I got that little perspective.
The thing about this release is that it isn’t Ms. Currie saying “They all want The Runaways, I’m going to give them The Runaways!” What I figure happened is that when she went to work on this, her co-conspirator Matt Sorum and her started talking about what music they both have enjoyed over the past . . . ummmm, let’s say 40+ years, and started figuring out how to incorporate all of that into this release. In these grooves you will find Glam, Johnny Thunders nods, straight 70’s rock, Grunge, and material that fits with anything on the radio these days.
I have gone through this release a few times now. My first spin fell a little flat. Then I did my research of the previous albums and got a little more perspective. Ms. Currie didn’t seem interested in re-living her past. So, the second spin clicked a little more for me. Then I busted out the good headphones and made sure I gave it my full attention, and it clicked. The production came alive, the passion in her voice, the belief in the material. It was all there, and I was sold.
Songs like “Mr. X,” “Black Magic,” “Breakout,” “Force to be Reckoned With” drive straight for your throat. These are the songs that will appeal to the fans of the past, but won’t appeal to those fans for being Runaways type tunes. They will be appeased because the songs just rock hard. The album is built up mostly on these songs, making this an album to turn up loud and club your neighbors over the head with.
But Ms. Currie is more than just trying to appease the fans of slamming rock these days, and tracks like “Rock and Roll Oblivion,” “The Air That I Breathe” (a cover of The Hollies), “Shades,” and “Blvds of Splendor” speak to the work that was done on Ms. Currie’s previous album with Brie Darling. A little more mellow, a little more introspective, a little less “go for the throat,” but still incredibly well done. I might even go out on a limb and say that it makes sense to title the album “Blvds of Splendor,” as it might just be the best song and is a brilliantly written track. The song features Billy Corgan, and their two voices really sell the song, and it works amazing. Easily moving from verse to chorus, and causing your head to swim in the movements.
Total credit to her for a brilliant cover of the Sweeny Todd/Nick Gilder underground classic “Roxy Roller.” Her version is every bit as good as the original, and in my humble opinion is even better than my dear Suzi Quatro kicked out. For me to give more credit to Ms. Currie over Suzi says quite a bit.
This release includes a cover of “Queens of Noise,” done incredibly well and with a heaping helping dose of total respect to the original band. Maybe a little more polished, maybe a little bigger in sound, but not lacking any of the attitude or power. The song also features the aid of Juliette Lewis, Brody Dalle, and The Veronicas trading off vocals.
Musicianship is high, really high, on this album. Matt Sorum has always been a solid drummer. His straight ahead playing, quick rolls, tasteful fills, really pushes this thing through. He might be playing most of it straight, but you can hear the heart behind what he is doing. This was obviously a passion project for him and Cherie Currie (in the works for many years, in fact) Aside from the guest spots taken by Slash, Duff McKagen, Billy Corgan, Juliette Lewis, Brody Dalle, and The Veronicas, the musicians on here are not known to me and are not listed on any material I can find. Whoever they are, however, they do a fantastic job. I am also not sure who the principal songwriters might be, but again, hats off to them. I’m also going out on a limb and guessing Cherie’s son is our guitarist here, as he has done most of her current solo material with her.
In the end, this is a solid album. The original release was on Record Store Day last year as a vinyl release. I meant to buy it that day, but my budget did not allow it to happen. The worldwide digital release happened on May 15th, 2020, so now it is out there for everybody to grab it, and they should. I, however, am heading out to my local shops the day this whole Covid thing is allowing shops to open again, and I am hoping to buy the damn vinyl release, and I will gladly pay a little extra. This is that good of an album. While I might have always liked The Runaways, I am pretty sure I am falling in love with this album.
Recommended tracks: “Blvds of Splendor”, “Bad and Broken”.
8/10
TRACKLIST
Mr. X
Roxy Roller
You Wreck Me
Black Magic
Blvds Of Splendor
Force To Be Reckoned With
Bad And Broken
Rock & Roll Oblivion
Shades
Draggin’ The Line
Breakout
The Air That I Breathe
What Do All the People Know? (bonus track)
Gimme (bonus track)
Queens Of Noise (bonus track)
