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With Kelly Gray 🖤

#mötley crüe #motley crue #nikki sixx #kelly gray #photoshoot

Coggins came across Astoria outside her house and asked for help finding somewhere to live. Rusty immediately dressed up as an alien the little troll!

Astoria pointed her in the direction of her dad, Zed, living on his own in a big trailer with another little alien.

#TS3 #Sims 3 #Gear-E-Coggins #Parasite #Astoria O'Hare #Kelly Gray #Rusty O'Hare #Woeford #Dhalsims

Friday, June 18: Queensrÿche, “Howl”

Q2K was the true outlier in the Queensrÿche discography: ostensibly positioned as a back-to-basics move, the record was far more linear and direct than anything the band had ever done and reminded everyone that even at their most metallic, this group was never about the basics. The album also wasn’t even very metallic, continuing the pivot towards hard rock set forth by Hear in the Now Frontier but with much muddier production courtesy of Kelly Gray (who would briefly join the band, become a scapegoat and then apply these same questionable production choices to what was supposed to be Nevermore’s breakthrough record). All of this obscured what was actually a largely good set of songs- sure, Geoff Tate was rapidly losing his range and writing lyrics that were simultaneously stupid and condescending, and the band couldn’t fully commit to this approach, since Scott Rockenfield’s drumming was as busy as ever, but a lot of Q2K was lively and had sturdy hooks, enjoyable choruses and strong performances. “Howl” aptly represented this push/pull aspect of the album, although it was actually a leftover track that was eventually added to a reissue: Tate sounded strained, and Gray’s murky production was an unsuccessful attempt at providing a live feel, but through the murk one could hear the band cooking up a nice racket and seeming to simply enjoy playing together (though again, Rockenfield was still all over the place). With better production and maybe a less smug frontman, “Howl” could’ve potentially provided a path forward for Queensrÿche, one that reflected their decreasing interest in metal but still delivering heavy rock with progressive and metallic flourishes. It probably wouldn’t have been that well-received, but at least it would’ve been dignified, unlike what the band would end up spitting out over the next decade-plus.