London:Non-stop Rock

  Famous for being Nikki Sixx's first major band, London never really hit the big-time. However, they did release a few decent albums during their short recorded lifespan (they are back together, but have not produced any new material). Let's take a look at their first album.

  Released in 1985, this version of London was actually a reformed incarnation that arose after the disbanding of the original band during the early 1980s. Featuring a new line-up, founder and guitarist Lizzie Grey sought to capitalize on the glam scene that London had certainly helped create. First up is "Dirty City". The first thing that you will notice is the incredible racket that the band made. Very much in the same vein as Motley Crue and W.A.S.P., the band is in the heavier spectrum of glam metal. I love the thunderous drums, electrifying solos, and great vocals from Nadir D'Priest. L.A. metal at its finest, the songs sordid tales of the underbelly of L.A. are a perfect fit for the nasty-sounding riffs. Next up is the title track. "Non-Stop Rock" reminds me of "Knock Em' Dead Kid" by Motley. D'Priest sounds a lot like Vince Neil, but with even more aggression and growl in his voice. A great anthem, the song is about having a good time and rocking and rolling. Grey is a great guitarist, and it was a shame that he is more of a local figure than a superstar. A great tune, everything that Vinnie Vincent Invasion could have and should have been, fast-paced metal with blistering solos.

   "Werewolves In London" bears no similarity to the Warren Zevon hit. The song's lyrics are somewhat ridiculous, but have a certain 1980's charm with its horror-movie kitsch and cheap keyboards. Not the greatest song on the album, but cheesy in all the right ways, especially the constant grunting of "wild in the streets" over and over again. The guitar playing is especially top-notch, some great lead guitar is featured on the track. "It's Rock & Roll" is a pretty fast number with a cool classic rockin riff. The song is an homage is rock and roll and its history. The musical structure of the song is odd, with some weird structural changes, but it's fun enough. Drummer Bobby Marks hits the sticks pretty hard and fast, but definitely had some timing issues on this track. Not a bad tune, but far from a classic.

    "Stand Back" sounds very much like peers W.A.S.P. However the song is not nearly as proficient or catchy as anything released by that band. The song is weird in that the chorus reminds of poppy bands such as Poison, but has a very confrontational message warning the listener to "stand back". Not a great song at all, its structure and out of place lyrics hold it back from greatness. "No Tell Motel" is a sleazy tale of after-hours escapades in various hotel rooms. I like the song, despite the somewhat stupid and cliche main riff and lyrics. Very Crue-like, fans of early Motley will certainly enjoy London and this song in particular.

   "Party In Hollywood" is classic L.A. metal. Bashing drums are accompanied by what basically equates to cat calls from London. Poison took everything they did from this song, and you can clearly hit the blue-print for Poison within the DNA for this party anthem. A fun song, a lost nugget from the era of big hair and ridiculous clothes. London were certainly a fun band, and one only needs to watch "The Decline of Western Civilization II" to see the band in action during the peak of the hair metal era. "Masters of the Airwaves" is a pretty aggressive song. Another metal anthem, the song basically tells of the band not giving a shit about people telling them what to do. I love Lizzie's solo, one of his best. The bass work of Brian West is also particularly solid on this track. Very raw and unpolished, London captured the sound of hair metal before it was put through the commercial record-making machine of the major labels. A great sound, if a little too raw at times. Last up we have "Radio Stars". An American interpretation of 1970's English rock, the song is innocent enough and sounds very similar to early Crue tracks. A catchy song, but somewhat corny.

  "Non-Stop Rock" is an essential listen for fans of hair/glam metal. For casual fans of the genre, this album would be good to explore if you are feeling bored with the usually Crue/Poison/Cinderella albums. You could do better than London, but you could certainly do a lot worse.

Rating-7/10

 

  

Tommy Lee: Tommyland: The Ride

 The history of Motley Crue solo projects is a sordid and torrid history. From Vince Neil's horrible "Exposed" to Nikki Sixx's utterly average "Sixx: AM", were not exactly dealing with great music here. So, you would think Tommy would strike out as well? Tommy's full of surprises...so let's take a look.

   Opener "Good Times" sounds like a late 1990's pop-rock song. Like Vertical Horizon, Everclear, and blah blah whoever, the song would sound totally in the right place rolling during the credits of some teen movie from the late VHS era. Dated even for the time of the album's release, it is nonetheless a decent slice of pop that is not as bad as it seems, a fun and simple song. "Hello, Again" is in much the same vein as Good Times. A sugary and sappy pop song, it sounds like a song written and recorded by a group of teenagers rather than a 40-plus(at the time) heavy metal drummer. I love the bass playing and sound, a true highlight of the album. A decent song, and totally unexpected from Lee given his exploration of drum and bass, hip-hop, and heavy metal over the years. Not terrible, pretty catchy in fact.

   "Tryin to Be Me" brings guest star and supreme douche-bag Chad Kroeger. Sounding like a Nickelback song (hate that band so much), I don't really like the song at all. Lee's drumming is excellent as always, but the laughable lyrics and Chad grunting instantly turn me off. Skip this one, unless for some reason you really enjoy the works of Mr. Lavigne. "Sister Mary" is an odd song. Very inspired by Paul McCartney and the Beatles, the insanely heavy drums do not match the very English feel of the song. The gentle and flowery guitars and signing are nearly ruined by Lee's racket, which sounds good for metal, but is far too heavy-handed for this slice of pop. The lyrics are actually quite good, and tell the story of a woman who has taken a few wrong turns in her life and has turned out to be what seems to be an exotic dancer. "The Butler" takes a cue from hip-hop albums. A short "skit", it is a recording of Lee's purported butler. A strange idea for a rock album, but it's kind of funny.

   "Tired" is Lee's attempt at a pop-punk tune. His faux-English sneer will make you cringe. A high-pitched synthesizer squeal runs through the song, an awful sound. To make matters worse, Joel Madden from the horrible Good Charlotte sings on the song. The song is a train-wreck from start to finish, one of the worst songs I have ever heard in my life. "I Need You" shows off Lee's exploration of electronic music. Featuring Andrew McMahon of Jack's Mannequin, the song is actually one of the better on the album. Lee doesn't sing on the track (probably a good thing on this track) and it's a decent and catchy pop ballad. "Make Believe" also bears the hallmarks of Chad Kroeger, and he was certainly involved in the production and writing of this song. Again, I cannot recommend anything connected to Chad, and this song does not sway my opinion. Skip it, unless your wildest fantasies involve Tommy Lee singing a Nickelback song.

   "Makin Me Crazy" is Tommy attempting country-pop. Featuring British songstress Dirty Harry, the song is not really any better or worse than most of the crap I hear on country radio. Not a terrible song, but not really within my stylistic preferences and pretty repetitive. At this point, the album is really all over the map musically speaking, with countless genres and writers represented. "Watch You Lose" is the most straight-up rock song on the album. Still sounding like Nickelback, the whinny lyrics and emo-feel don't really do it for me, but the guitars are heavy and the drums kick ass, one of the better songs on the album.

   "Say Goodbye" brings us back into pop territory. Pretty 90's sounding, the song reminds me of the Goo-goo Dolls and other similar bands. Again, not horrible, but not something you would expect from a man that rides a drum kit strapped to roller coaster while swigging Jack Daniels, very soft and mellow. "Hello, Again (acoustic)" is just what the title says, an acoustic version of track 2. The acoustic version is actually better, and is still not a bad song, but not a classic.

  "Tommyland: The Ride" is not horrible. There are some great pop moments. But the album's long list of genres and guest stars cause a lack of consistency. While I appreciate Lee's efforts to branch out musically, the Chad Kroeger songs and Joel Madden song nearly derail the album. Lee is certainly best at metal drumming, but it's nice to see him try something new. Although the results may be varied, his songs are often tender and certainly always from the heart. Don't expect Shout At The Devil, but for those with an open mind, you might find a few things to like about Tommyland.

Rating-6.5/10

  
 
   

  

Deep Purple: Slaves and Masters

   Lucky for album number 13? Not according to many. Deep Purple try their luck with Rainbow vocalist Joe Lynn Turner. The results are........find out below.

   Firstly we have "King of Dreams". A very digital-sounding track, the instruments sound like the processing chip from a 16-bit game system like the Sega Genesis. Turner's vocals are decent enough, but the production is so weak and thin-sounding, I cannot recommend the song as is. "The Cut Runs Deep" is a step back in the right direction. Ritchie Blackmore delivers an almost classic riff, and the recently and sadly departed Jon Lord sounds great on the keys. Turner did a pretty good job on the vocals, but I keep imagining the songs as if sung by Ian Gillan. But alas, Blackmore's solo smokes, and the song is actually quite good in terms of production, despite a very digital and Def-Leppard-like metal drum sound.

   "Fire in the Basement" is a boogie number that brings to mind the band's heyday. Turner sounds very good here, channeling Ian Gillan and at times more controlled and refined than the Purple main-man. Lord's organ playing is the stuff of legends, and it is no exception here. The classic trading off of organ and guitar solos happens here, and will instantly please fans of the band, proving that Lord was truly a master on the keys. A silly title and lyrics (likely a play on Smoke on the Water), but a great song. "Truth Hurts" reminds me of a Turner-era Rainbow song, very slow and somewhat mystical. But the song has pop ambitions, and is more of a ballad than anything. A decent song (especially Blackmore's solo), but very typical of late 80's rock ballads in terms of sound and feel. Not a bad song, but not up to caliber enough to carry the mighty Deep Purple name.

   "Breakfast in Bed" opens with some cool sounding, but very dated digital synths. Like many late 1980's ballads, it takes a page from the Bon Jovi book of songwriting by adopting a western/cowboy influence and sound. It feels pretty unnatural for Purple, far too American for them(perhaps the Turner influence) and forced.  I could do without this track, one of the weakest by the band. The highlight of the song for me is bassist Roger Glover's bass-lines, some great work by a very underrated bassist. "Love Conquers All" is another ballad. I love the string introduction and the delicate and soft riff by Blackmore over sombre organ from Lord. A pretty decent ballad, the song could certainly have been a big hit if it had gotten more radio play. Turner's voice really shines here, a very clear and smooth rock voice. I like the track, and Blackmore's solo is one of his most haunting and beautiful.

   "Fortuneteller" is very AOR, despite retaining vestiges of the band's glory days. The song reminds me of Rainbow, but speed down to a much slower speed with a healthy amount of digital production that actually hampers the song.  Also, the mighty vocals of Ronnie James Dio are immediately what I think of upon hearing this song, it would have sounded great with him on vocals. Not a bad song, but it could have been so much more with better production and a less pop-focused sound. "Too Much Is Not Enough" brings back the speed and metal. A chugging riff drives along the song, and Ian Paice delivers some solid drumming. However, a horrible digital brass sound nearly kills the song. It seriously sounds like a Mario game from the era. The keyboards on the album are very brittle and cheap sounding, a low-point for Slaves and Masters. Not a great tune, skip this turd. "Wicked Ways" closes off this album. A fast-paced number, the song gets an A for effort. Not bad at all, I like the steamroller classic Purple sound, very manic and fast.

   "Slaves and Masters" has some enjoyable moments, but they are few compared to the average moments. Better than 1987's absolute disaster "The House of Blue Light", but a far cry from the band's 1970's glory days. If you are a Purple fan, this album will certainly be an interesting side-note in their long discography. For casual fans, I would not recommend this as an essential listen.

Rating-6/10
    

   
   

Death-Leprosy

 
   Released in 1988, Leprosy is a brutal album full of some of the sickest sounds that you have ever heard. The album in considered a landmark death metal album, and many see it as the best example of genre so far. While death metal is certainly not my favorite sub-genre of metal, Leprosy is quite the album. Let's take a look.

   Opener "Leprosy" is about the said disease. The first thing that you will notice about Death is their sheer virtuosity. Timing changes, complicated progressions, and various guitar techniques produce an all-out assault on the senses. Late singer/guitarist Chuck Schuldiner delivers some truly revolting vocals (a good thing if you like death metal), that are still somehow reminiscent of  melody. The song's lyrics are basically about the effects of leprosy, and the decay it causes to the body. This album is not for the faint of heart, as it only gets more grotesque from here. A great track.  "Born Dead" sounds almost like thrash metal at times, a very fast and heavy song. Lyrically, the song is absolutely dreary and depressing. But that's why people listen to death metal isn't it? In any case, the song has some great guitar work, I particularly like the dive-bombing and tapping that happens throughout the song. The intensity of drummer Bill Andrews really becomes apparent during this track, an absolute beast on the sticks.

     "Forgotten Past" is a more traditional metal song. A Metallica-like riff drives along Chuck's sick and tormented groaning. The song seems to concern zombies and the undead, a consistent theme throughout Death's short discography. I find the drums to be a bit mechanical on the track, but the guitar solo is absolutely astounding, one of the best from the band.  A great song for fans of this particular brand of metal. "Left to Die" shows off the band's use of middle-eastern scales in their riffs. An absolutely horrific song, the lyrics are the bleakest of the bleak, all atop a grinding series of riffs and machine-gun drumming. About as far from pop music as you can imagine, this is outsider music at its best. The screams that Chuck let out are truly disturbing, sick stuff. A great song, but certainly not for everybody.

  "Pull the Plug" is my pick for the best song on the album. The insanely heavy riff will infect your brain, easily one of the best death metal riffs of all time. A huge influence on modern metal, I cannot underestimate the importance of this track. I love the progressive feel of the track as well, with certain sections exploring some complex musical structures. A killer song by any means. "Open Casket" has some great "blast beats" from Andrews. The song fits the more traditional definition of death metal, as its break-neck speeds and inaudible vocals are characteristic of death metal. Not one of my favorites, a tad too brutal even for my tastes. Certainly a good death metal song, but I like to be able to hear the vocals and groans, the song sounds rushed and jumbled to me.

   "Primitive Ways" continues the insane speed of the previous track. Chuck's groans are tormented and disturbing, but again, that is a complement for the death metal genre. The bass is hard to hear during the previous track and this track, a sad fact considering that bassist Terry Butler (not Geezer) is quite good. Not one of my favorite Death tracks either. Last up is the amazing "Choke On It". The bass-work is great here, and can be clearly heard. After an amazingly melodic introduction, the oppressive wall of guitars and blast beats hits again, like a punch to the face. But, in the middle of the song, a progressive and fairly clean-sounding section provides a refuge from the insanity. A great song, with some killer leads from Chuck.

   "Leprosy" is a disturbing and brutal album, but will certainly please fans of heavier variants of metal. For those who fell that Iron Maiden is a heavy band, perhaps this music is not for you. But for those who like death metal, I cannot think of a better album. A shinning example of the golden age of death metal, that would sadly end with Chuck's untimely death in 2001. 

Rating-9/10
 

Quiet Riot-II

   Released only in Japan, the album has never seen a proper physical release in most of the world. Best known for being the band's second and final album with the sadly-departed Randy Rhoads, it remains a curiosity explored by few. Let's take a look at this rare (and expensive) Japanese-only album.

   The album opens with an earlier version of "Slick Back Cadillac". I actually prefer this version, it is much more raw, and lacks the bloated production found on "Metal Health". Randy's guitars are as enjoyable as ever, a wonderful sound full of trick and artistry. Next up is "You Drive Me Crazy". Despite Randy's excellent guitar aerobics, the song is actually quite lame, sounding like a deflated version of QR vocalist Kevin DuBrow's heroes, the mighty Slade. A turd of a song.

  "Afterglow (of Your Love)" is a cover of the Small Faces original. Totally unnecessary, but not horrible by any means. Not much to say about the track, but a great solo from Randy is the shinning moment of the otherwise tepid song. "Eye for an Eye" sounds like Ozzy-lite. A pop song wrapped in metal clothing, it really disappoints. Tame lyrics, neutered guitars, and a lack of convincing vocals make the song a lame duck, save for the excellent solo. Ughh, I am beginning to see why this album was only released in Japan.

   "Trouble" picks up the action a bit. A very heavy riff drives the song along, with some great vocals from DuBrow. Drummer Drew Forsyth struggles to keep up with Rhoads and bassist Kelly Garni. Both men would be out of the band by the time of their 1983 breakout album "Metal Health". I believe that those personnel changes certainly helped the band, despite the loss of Rhoads after this album. A solid tune, and the first signs of the sound that Randy would hone with Ozzy during the next few years. "Killer Girls" starts will a pretty cool bass-line from Garni. Randy kicks in with some killer riffs. The first signs of the band rockin the sleazy sound that would propel them to success during the glam/hair metal era. The song is interesting as it changes time in the chorus. Randy was never scared to change time signatures, another sign of his virtuosity and sheer musical talent. Easily the best song on the album, it's a great indication of the things to come from both Rhoads and QR themselves.

   "Face to Face" reminds instantly of the New York Dolls and other glam artists. Coming at the tail end of the 1970s, it certainly sounds dated in the face of the then burgeoning punk movement, but who cares, a great song. The album is starting to redeem itself at this point, sounding like a mix of Slade, the Dolls, and Ozzy, a great combination if there ever was one. Another great song, I love the outro as Randy delivers some great leads. "Inside You" is obviously about one thing and one thing only. Somehow, the song is actually sweet and tender. Very Slade-like, I like the slow-burning almost disco-like feel of the tune. A great song, it wouldn't have sounded out of place on a Sweet or Slade album at all, a lost late 70's classic.

   The album closes with "We've Got the Magic". A terrible closer, I really don't like the tune. The lyrics are cringe-worthy, and the song is a poppy mishmash of 1970's sounds. Randy does include some cool guitar flourishes throughout the track, but not enough to save it from being sloppy, irritating, and half-baked.

   "Quiet Riot II" is a very mixed album. There are some gems, but overall it is a somewhat mediocre effort. If you love the guitar playing of Randy Rhoads, it is certainly a must listen. However, casual fans would do better with the band's 1980's output. Additionally, the high cost of obtaining the full album can turn people off, if you can even find it for purchase.

Rating-6/10

Anthrax-Pesistence of Time

 Persistence of Time is Anthrax's fifth studio album. The album closes the first era of singer Joey Belladonna, as it would be the last album recorded with him until 2011's "Worship Music". The album is overlooked by many in favor of earlier albums, but I really enjoyed this album. Let's examine it in further detail.

   The album opens with "Time". A chugging,  thrashy riff drives the song at break-neck speeds. Belladonna sounds great, and is definitely my pick for best Anthrax singer. The song is about the omnipresence of the passage of time, much like the rest of the album. Dan Spitz delivers a great solo on the track, and drummer Charlie Benante sounds great pounding on the sticks, an underrated drummer. A great opening song.  "Blood" is up next. One of my favorite songs by the band, I love the twin leads of the main riff. Benante pounds away with muscular precision, and bassist Frank Bello delivers some wonderful bass-lines. The song showcases Anthrax's fusing of rap into metal, and Belladonna does rap a bit in the song, but not in a Fred Durst kind of way, Anthrax's fusing of rap and metal actually works most of the time. A great song that receives a fair amount of radio play even now.

   "Keep It in the Family" slows down the action. A plodding and chugging slab of metal, the song is as heavy than anything done by Pantera, who were greatly influenced by the band. A decent song, but there definitely are a few issues with tempo and mixing, occasionally, the band seems out of time with each other.  Recording for this album was apparently troublesome, and I am not surprised considering the fairly mediocre knob-job. The song seems to be about a screwed-up family, something that many of us can relate to. Not one of my favs, but Belladonna and Benante both sound great here. "In My World" is a pretty loud racket of a song, very modern sounding given the time of the recording. Belladonna's vocals are buried in effects here, again showing some problems with production, far too much echo for such a naturally powerful voice. Despite the hokey production, the song has a pretty heavy main riff, and some killer drumming from Benante. The f-the world lyrics are commonplace for thrash, but will certainly please many. An alright tune.

  "Gridlock" has a terrible drum sound (but not bad drumming). The drums sound wooden and thin. Despite this, I like the song. I love how Belladonna mimics the main guitar riff vocally, following almost every bend and note that is played on the guitar with a vocal line. The main riff is the band heading into more progressive thrash territory. Despite the cringe-worthy snare sound, Benante delivers some awesome drums, and the guitar solo smokes. So, an example of a great song with bad production. "Intro to Reality" is an interesting instrumental. A strange fusion of jazz, country, and metal, the song did stand out as quite unique. The song gets pretty heavy in the middle, with one guitar playing a clean riff while the other plays a monstrously heavy riff, an interesting combo. The song picks up and Bello and Benante come in, in the middle. A decent curiosity, but not an Anthrax classic.

   "Belly of the Beast" concerns monsters and horror movie-like subject-matter. The song was a fairly big hit, and is still played regularly on modern rock radio.  The closest Anthrax got to popular music, some metal-heads saw the song as an attempt at being commercial for the band. I would disagree, but the song is more slickly-produced and polished than many other tracks on the album. A decent song that survives in the modern Anthrax set-list. "Got the Time" is a Joe Jackson cover that has been given a metal makeover. The song shows the band's punk tendencies. Not a fan of the tune, it seems tacked on to an otherwise very original and progressive album. Not terrible, it could have been a b-side. What I do enjoy about the song is Frank Bello's bass solo, a very unsung player.

  "H8 Red" is a very common topic of thrash, anger and hatred. The lyrics are utterly banal and laughable, but I like the heavy main riff and speed of the song. But, the album seems to be running out of gas somewhat at this point, not a great song. However, you are awakened from your slumber with a great solo. It almost saves the song. "One Man Stands" is an interesting song. The military-like drumming from Benante builds tension, as do the guitar aerobics by Spitz. The song reaches Metallica-like speeds, and certainly the song is the most Metallica-sounding on the album. The song will certainly appeal of those with a mind for combat, and it seems to be basically an anthem for men and women in service fighting for "freedom". A decent tune. The album closes with "Discharge". The most heavy and aggressive song on the album, I didn't like how Belladonna's vocals lied buried again under the massive guitar sound.  Not a bad song, but it could have been left off the album, it screams filler in my opinion.

   "Persistence of Time" is a decent album. Not as good as "Spreading the Disease" or even "Fistful of Metal", it will nonetheless please fans of the band's work. The production is a mixed bag, often very modern and clear sounding, and at times wooden and hollow. You could do worse than buy this album, but explore after listening to the albums that broke the band earlier in their career.

Rating-7/10

Moxy-Moxy II

   Toronto rock near-legends released their second album in 1976. A modest success at home and abroad, the band nonetheless never really reached the levels of stardom that many peers did. Let's take a look at this possible Can-rock classic.

   The album opens with "Cause There's Another". A song full of machismo and bravado, it basically pronounces that women are interchangeable. Outdated? Maybe, but a pretty cool rock song and certainly a relic of times long gone. A fun song. "Take it or Leave it" is a fairly typical song of its vintage. A slinky riff drives the song along. Fairly funky, the song reminds instantly of Bad Company, Foghat, and the hundreds of other 1970's "cock rock" bands that made the scene during this era. Not a bad song, but very similar lyrically to the first track. Nothing really stands out about the song.

   "Through the Storm" is a much more metal-sounding song. Sadly-departed vocalist Buzz Shearman sounds great here, and the lead guitars are quite good, some killer lead work is to be found within Moxy II. A good song, if only for eerie wail that Shearman lets out during the track. "One More Heartbreak" is a fairly bluesy track. Shearman lets out a bluesy growl here, while drummer Bill Wade does some pretty decent drumming, certainly very influenced by John Bonham, but who wasn't at this point?. A fairly standard-sounding track, somewhat reminiscent of Humble Pie.

   "Slippin' Out" is a bluesy jam. Guitar players will certainly appreciate the lead guitar, but a tad boring for the rest of us. The song feels half-baked, as if the vocals are simply missing or were not completed in time. Despite this, drummer Bill Wade sounds great doing some jazzy drumming here. "Midnight Flight" reminded me of fellow Toronto rockers "Goddo". Like Goddo, the vocals are often too high in the mix on this album, and this song is certainly no exception. It is hard to clearly hear the bass, and even the rhythm guitars at times. Structural, a fairly basic 70's rocker. A nice rockin' riff with lyrics about hitting the road, its certainly enjoyable enough, if fairly cliche and standard.

  "Change in my Life" is a ballad. The song is pretty lame, a luvvy-duvvy tune about the changes that happen to us through life. The lyrics are very cliche and the guitars induce sleep, I honestly did not like this song at all, like a terrible imitation of Bad Company. "Tryin' Just for You" is a step back in the right direction. Great leads, a catchy riff, and great vocals propel the song along. Fans of 70's rock will certainly enjoy the song, the best song on the album by far. The strangely-titled "Wet Suit" closes the album. The song is clumsy and the band sounds horribly out of time with each other, a pretty bad knob-job. It's a shame, because I like the bluesy vocals and the garage-rock riff.

   "Moxy II" won't change your world. It is actually a fairly mediocre album. The self-titled "Moxy" album is certainly a better pick, as it features the legendary Tommy Bolin on lead guitar. If you find Moxy II for cheap, it warrants a listen, but don't spend more than a couple of dollars of your hard-earned dough for this one.

Rating-5/10