Pearl – Little Immaculate White Fox

January 01, 1970

(White Fox
Music)

 

www.myspace.com/pearl

 

It should
come as no surprise that Ms. Pearl Aday, the stepdaughter of larger-than-life
rocker Meat Loaf (a/k/a Marvin Lee Aday), should approach the performances on her
debut album with the same sort of bombastic, almost operatic fervor as the bulk
of her stepfather’s songs. While Pearl has lent her big voice to a handful of
Meat Loaf albums since the mid-1990s, and moonlighted with folks like Motley
Crue and Ace Frehley, nothing could prepare the listener for the charm,
charisma, and, well…chutzpah that you’ll find on Little Immaculate White Fox.

 

The
album’s cover shows a partially-clad Ms. Pearl, wearing naught but a vest and
some beads and looking every bit her part as, indeed, a “little immaculate
white fox,” channeling her inner Janis in both attitude and appearance.
Much like the great Ms. Joplin, however, down in the grooves where it counts,
Pearl is less fox than wildcat, strangling every bit of energy from the lyrics
of each song while the guitar screams and soars behind her, and the rhythm
section delivers trainwreck chaos behind her.

 

Little Immaculate White Fox jumps the gate with
“Rock Child,” a rampaging semi-autobiographical scorched-earth hard
rocker with a twin guitar assault from husband Scott Ian (of Anthrax), and
Mother Superior/Rollins Band veteran Jim Wilson. With Devil Doll’s Matt Tecu
delivering hand-grenade drumbursts, “Rock Child” hits like an
earthquake followed by a tornado followed by a thunderstorm…and your ears are
the lonely lightning rod. Ditto for “Check Out Charlie,” which
features a guest appearance by Ted Nugent, the fretboard mangler brought in to
lively things up just in case Ian and Wilson don’t deliver enough six-string
pyrotechnics. Ol’ Ted may be a right-wing jackass and an outright blowhard, but
few guitarists can deliver the rumbling malevolence that he provides
“Check Out Charlie.”

 

Pearl
tends to overreach at times…her voice doesn’t yet possess the pathos capable of
wrestling a ballad like “Mama” into submission…and the hard/soft
alternating tracklist sounds less contrived than that of an artist in search of
a sound. Pearl’s
only real stumble, however, is with the album’s cover of the Ike & Tina
Turner classic “Nutbush City Limits.” Scott Ian and Carl
“Nalle” Colt’s guitars sound more mechanical than organic, and lack
the slippery funk of Ike’s original fat groove. Pearl, too, overreaches badly
in trying to duel with Tina’s original vocals, which came at a time with the
Queen of Soul was at her creative peak; by comparison, Aday’s vox come across
as pale albeit powerful, more loud that proud, tho’ you have to give her credit
for trying to hurdle such a height in the first place.

 

The rest
of Little Immaculate White Fox sits
comfortably in semi-metallic hard rock turf, mixing up power-ballads like the
unusually subdued “My Heart Isn’t In It” with strutting,
guitar-driven slobberknockers like “Lovepyre” and the breakneck
“Whore,” which could easily pass for a 1970s-era classic rock tune,
save for the fuse-overloading fretwork. The album-closing, slow-paced
“Anything” features Alice In Chain’s Jerry Cantrell providing some
intricate and downright elegant guitar that rides beneath Pearl’s subtle vocals.

 

Taken
altogether, Little Immaculate White Fox is an encouraging debut that, while misfiring once or twice, nevertheless
introduces an exciting new talent to the rock ‘n’ roll world. A decent lyricist
and a powerhouse vocalist, once Pearl Aday finds sure footing in a creative
identity, she’s going to be a rock ‘n’ roll predator worth keeping an eye one….
 

 

DOWNLOAD: “Rock Child,” “Check Out
Charlie,” “Whore” REV. KEITH A. GORDON

 

 

    

 

 

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