“Don’t get sore when you lose tonight”
Cult status is a funny thing, depending on which side of the coin you fall, it can either rescue diamonds in the rough or just further expose them. For me, Cool Rider comes down heavily on the latter though it must be said, there’s plenty who would argue the former, not least those who contributed over £12 grand to the Kickstarter to get this recording made. Hey, it’s their money right?!
Cool Rider is perhaps better known as the stage adaptation of ill-fated film sequel Grease 2. Staged in a concert version in 2014, the popularity of which saw it return for a week of performances at the Duchess Theatre, the fans are clearly there but quite for what, I couldn’t really say. The plot is little more than an retread of the original but with the roles reversed but the main problem lies in an inconsistent and uninspired score.
With no less than 10 different contributors named, and the legacy of an absolute classic to live up to, Lee Freeman’s orchestrations valiantly try to elevate the 80s take on 60s pastiche but finds that no time period can make it sound good. It’s awkwardly dated and cringe-worthily written – “we're gonna rock, we're gonna roll, we're gonna bop, we're gonna bowl” is no “rama lamma lamma ka dinga da dinga dong” that’s for sure…
More crucially, there’s too little charm to balance what comedy there is. Ashleigh Gray does a commendable job as the go-getting Stephanie, the title track is strong and her side of climactic duet ‘(Love Will) Turn Back The Hands of Time’ is excellent but opposite her, Aaron SIdwell is lacklustre in a largely insipid part. Reece Shearsmith’s romp through a sex-ed class in ‘Reproduction’ is another example where the recording falls flat, though I can appreciate that prior knowledge of the scene might well make it work.
So Cool Rider might well be one for the fans, for whom seeing and hearing the show live will have been a dream. For the more casual listener, there aren’t many more worse things you could do.