Traveling Wilburys Volume 3

Traveling Wilburys Vol. 3
by Traveling Wilburys

Buy Traveling Wilburys Vol. 3

Traveling Wilburys Volume 3As heralded and popular as the Traveling Wilburys 1988 debut album was, the 1990 follow up Traveling Wilburys Vol. 3 was relatively ignored. In part, this was the fault of the group members themselves who took their penchant for inside jokes a bit too far by naming this second Traveling Wiburys release “Volume 3”. Further confusing to fans was the adoption of completely new “Wilbury” pseudonyms by the four remaining group members. All this being said, the music on this album is excellent and entertaining.

The untimely death of Roy Orbison in December 1988 (while Traveling Wilburys Vol 1 was hitting its peak popularity) instantly reduced the super-group to a quartet. While the mainly spontaneous debut album was loose and fun, the vibe on this second album seems more business-like. Further, George Harrison, the originator and unofficial band leader, has a much lighter presence on Traveling Wilburys Vol. 3.

Stepping in to fill the void are Bob Dylan and Tom Petty, who each have a much stronger presence up front than on the debut album. On a note of consistency, the album was once again produced by Harrison and Jeff Lynne, who offered up exquisite sonic quality throughout the album.


Traveling Wilburys Vol. 3 by Traveling Wilburys
Released: October 29, 1990 (Warner Bros.)
Produced by: Clayton Wilbury & Spike Wilbury
Recorded: April–May 1990
Track Listing Primary Musicians
She’s My Baby
Inside Out
If You Belonged to Me
The Devil’s Been Busy
7 Deadly Sins
Poor House
Where Were You Last Night?
Cool Dry Place
New Blue Moon
You Took My Breath Away
Wilbury Twist
Spike Wilbury (George Harrison)
Guitars, Mandolin, Sitar, Vocals
Boo Wilbury (Bob Dylan)
Guitars, Harmonica, Vocals
Clayton Wilbury (Jeff Lynne)
Guitars, Bass, Keyboards, Vocals
Muddy Wilbury (Tom Petty)
Bass, Guitars, Vocals
Jim Keltner
Drums, Percussion
 
Traveling Wilburys 3

The opener “She’s My Baby” is a harder rocker than practically anything on the previous album. A driving musical riff with booming drums by Jim Keltner and, most importantly, the blistering lead guitar of guest Gary Moore, all work to make this a totally unique Wilburys track. “Inside Out” reverts back to the group’s conventional acoustic driven folk style. The lead vocals are by Dylan during the verses with other Wilburys taking some sections and the lyrics offer a clever play on words. “If You Belonged to Me” is a bright, multi-acoustic track with intro harmonica (and later harmonica lead) by Dylan. Petty takes the vocal helm on “The Devil’s Been Busy”, with Harrison adding some sparse but strategically placed sitar in the verses, followed by a full-fledged, electrified sitar solo later in the song. The track also contains good melodies and harmonies to the profound lyrics,

“While you’re strolling down the fairway, showing no remorse / Glowing from the poisons they’ve sprayed on your golf course / While you’re busy sinking birdies and keeping your scorecard, the devil’s been busy in your back yard…”

“7 Deadly Sins” is a fifties style doo-wop with multi-vocal parts and a nice, growling saxophone by Jim Horn. Entertaining enough, but perhaps a bridge too far in the Wilburys penchant for retrospection. “Poor House” starts with Harrison’s signature, weeping guitar. Beyond that, the song sticks to basic blue grass arrangement with harmonized lead vocals and a nice lead guitar by Harrison. “Where Were You Last Night?” has a cool descending acoustic riff throughout and appears to be Dylan parodying his own caricature. With a plethora of acoustic instruments and phrases, “Cool Dry Place” is entertaining musically and classic Petty lyrically with his cool insider lines;

“We got solids and acoustics and some from plywood board, and some are trimmed in leather, and some are made with gourds / There’s organs and trombones and reverbs we can use, lots of DX-7s and old athletic shoes…”

“New Blue Moon” is not much lyrically, but fun, entertaining and sonically interesting nonetheless, while “You Took My Breath Away” is a moderate acoustic ballad where Lynne’s production does add some depth to the overall feel. It all concludes with the wild frenzied rocker of “Wilbury Twist”, which somewhat mocking, while at once a tribute of the dance crazes through the years. Each member takes a turn at lead vocals, making this a fitting end to the album and the Traveling Wilburys short career.

By the early 2000s, Traveling Wilburys Vol. 3 were out of print and did not resurface in any form until The Traveling Wilburys Collection, a box set including both studio albums with bonus tracks was released in 2007.

~

1990 images

Part of Classic Rock Review’s celebration of 1990 albums.

Crazy World by Scorpions

Crazy World by Scorpions

Buy Crazy World

Crazy World by ScorpionsDriven by the popularity of a historically significant song, Crazy World was a commercial success in 1990 for Scorpions. The eleventh overall studio release by this rock band from Germany, the album charted high in the US and is the group’s highest selling album all time in the UK. Formed a quarter century earlier, this record also ushered in a fourth decade of production for Scorpions and showed that they still had plenty of creativity and rock originality in contemporary times.

Following the tremendous success of 1984’s Love at First Sting, the band toured the world and spawned the popular live album, World Wide Live in 1985. Now at the height of their popularity, the group decided to take some time off before recording another studio album. Four years in the making, Savage Amusement was released in 1988 sporting a more polished and mature sound that was met with some disappointment by long time fans.

In an effort to distance themselves from the sound on that latter album, Scorpions decided not to us their long-time producer Dieter Dierks, who had worked with the band on every previous album dating back to the mid 1970s. The group brought in studio veteran Keith Olsen, who worked to bring back the band’s raw, classic sound. The band also enlisted the help of studio composer Jim Vallance, who contributed to several of the album’s tracks.


Crazy World by Scorpions
Released: November 6, 1990 (Mercury)
Produced by: Keith Olsen & Scorpions
Recorded: Goodnight LA Studios, Los Angeles & Wisseloord Studios, The Netherlands, Summer-Fall, 1990
Track Listing Group Musicians
Tease Me Please Me
Don’t Believe Her
To Be With You In Heaven
Wind of Change
Restless Nights
Lust or Love
Kicks After Six
Hit Between the Eyes
Money and Fame
Crazy World
Send Me an Angel
Klaus Meine
Lead Vocals
Matthias Jabs
Guitars, Vocals
Rudolf Schenker
Guitars, Vocals
Francis Buchholz
Bass, Vocals
Herman Rarebell
Drums, Vocals
 
Crazy World by Scorpions

Starting off the album, “Tease Me Please Me” is a pure eighties-style rocker with good, deep riffing and majestic vocals by lead singer Klaus Meine. The song’s chorus has a catchy hook with rudiment accents. The second track, “Don’t Believe Her”, follows in much the same vein as the opener. In fact, this song is so similar it could be the second part of a multi-part suite (which it is not), using the same composers and the same vibe. “To Be with You in Heaven” starts with simple drum beat by Herman Rarebell along with swelling guitar feedback before the two instruments join forces in unison. Moderate and methodical throughout, the song contains same philosophical and romantic lyrics with the hook;

“To be with you in heaven I would go through the darkest hell, In heaven there’s no cure for love that kills…”

“Wind of Change” was written solely by Meine and is the true classic from this album (not to mention one of the all-time rock classics). The signature whistling intro is accompanied by a perfect blend of one acoustic guitar and two electric guitars by Matthias Jabs and Rudolf Schenker. The group’s most genuine track, the lyrics come in the wake of the fall of the Berlin Wall and forecast a similar change in Russia (which actually happened the following year, just as the song was peaking). “Wind of Change” holds the record for the best-selling single by a German artist, topping the charts in seven nations across the globe (including Germany) and reached the Top 5 in both the US and UK.

Obviously following this high point, the album never gets any better. But there still are some interesting moments. “Restless Nights” contains a methodical blues crunch with interesting and melodic verses. Here bassist Francis Buchholz has a few moments to shine through and Meine gets to show off his vocal range. Crazy World was the last album to feature Buchholz, a veteran from the band’s classic lineup.

The album’s original second side starts with a couple of standard hard rock tracks. the rather mundane theme of “Lust or Love” is followed by “Kicks After Six”, which contains some sonically desirable riffs. “Hit Between the Eyes” follows with some nice fire-one style rudiments and a hyper arrangement throughout, including a cool duo guitar lead by Jabs and Schenker.

Coming down the stretch, we have the steady rocker “Money and Fame”, featuring a cool talk box effect by Jabs, who co-wrote the track with Rarebell. The title track, “Crazy World” has interesting chord progressions and a deep and smooth harmony during the chorus hook. However, at five minutes long, this track is stretched out a bit too long. Vallance plays some moody keyboards along with Schenker’s picked acoustic on “Send Me an Angel”, a ballad which is at once melancholy and hopeful. The true highlight of this closer is Meine’s vocal which shine through with another indelible hook to complete the album.

Just prior to the release of Crazy World, the group fittingly launched the all-star concert The Wall Live In Berlin, performing both versions of Pink Floyd’s “In the Flesh”. Following the album’s release, Scorpions launched their own world tour with further success.

~

1990 images

Part of Classic Rock Review’s celebration of 1990 albums.

The Razors Edge by AC-DC

The Razor’s Edge by AC/DC

Buy The Razor’s Edge

The Razors Edge by AC-DCAC/DC showed the world that they were still an energetic and formidable band as they commenced the 1990s with the successful album, The Razor’s Edge. The music is upbeat and strong throughout this record and all tracks were compose by brother guitarists Malcolm Young and Angus Young. The album helped the group regain its former glory and sold approximately ten to twelve million copies worldwide, putting it well within the top echelon in AC/DC’s collection of albums.

Following the tremendous success of 1980’s Back In Black, AC/DC had mixed levels of success through the 1980s. The group’s original drummer, Phil Rudd, was fired following a physical altercation with Malcolm Young in 1983 and session drummers were used for that year’s album, Flick of the Switch. The group’s next album, Fly on the Wall in 1985, was universally panned as one of the group’s worst. However, 1988’s Blow Up Your Video, which reunited AC/DC’s original producers, Harry Vanda and George Young, and was a commercial success.

The Razor’s Edge was produced by Bruce Fairbairn and is the the only studio album by the band to feature drummer Chris Slade. The Young brothers took on composing duties alone because vocalist Brian Johnson was unable to attend some of the early album sessions.


The Razor’s Edge by AC/DC
Released: September 24, 1990 (Atco)
Produced by: Bruce Fairbairn
Recorded: Windmill Road Studios, Dublin, & Little Mountain Studios in Vancouver, BC, 1989-1990
Track Listing Group Musicians
Thunderstruck
Fire Your Guns
Moneytalks
The Razors Edge
Mistress for Christmas
Rock Your Heart Out
Are You Ready
Got You by the Balls
Shot of Love
Let’s Make It
Good Riddance to Bad Luck
If You Dare
Brian Johnson
Lead Vocals
Angus Young
Guitars
Malcolm Young
Guitars, Vocals
Cliff Williams
Bass, Vocals
Chris Slade
Drums, Percussion
 
The Razors Edge by AC-DC

With a long, building and catchy intro, “Thunderstruck” is the perfect opening track for The Razor’s Edge. The track is built on Angus Young’s fingerboard progression, which acts as an arpeggio that leads the rhythm for the entire track. The song peaked at #5 on the Billboard Mainstream Rock chart and remains a staple in the band’s repertoire. “Fire Your Guns” continues the feel as a rapid and spastic rocker with steady rhythms by Slade and bassist Cliff Williams, along with nervous riffs and desperate hooks.

The album’s second big hit, “Moneytalks” is another track built on a simple but rich riff and a catchy shout-along. Johnson’s vocals hit a sweet spot somewhere between a crier’s shout and an alley cat’s yowl with satirical lyrics about the economic ways of the world. The title track, “The Razors Edge”, starts with droning solo by Angus Young and eventually builds on the drum accents by Slade into a moderate and dark rocker. This song has more musical variety than preceding tracks but still sticks to a simple, anthemic theme lyrically. The farcical “Mistress for Christmas” is a bit of racy fun with Christmas tunes, while “Rock Your Heart Out” features a cool bass line by Williams. “Are You Ready” was another minor hit, reaching #16 on the Mainstream Rock chart with its building riff and strategic launch.

The album’s second half contains lesser known (and somewhat forgettable), tracks, starting with “Got You by the Balls”, a less tactful rendition in the line of the brilliant “Big Balls” from 1976’s Dirty Deeds Done Dirt Cheap. “Shot of Love” continues as another generic AC/DC track, followed by the slightly better “Let’s Make It”, with a nice riff by Malcolm Young. “Goodbye & Good Riddance to Bad Luck” has an interesting title above anything else, while the closer “If You Dare” finds a nice groove to end the album on a high note.

The Razor’s Edge reached #2 in the US and #4 in the UK, a level of commercial success that matched that of AC/DC’s glory years of the late seventies and early eighties. Following its release, the group embarked on a highly publicized world tour which spawned material for the group’s 1992 live album and sustained their popularity for years to come.

~

1990 images

Part of Classic Rock Review’s celebration of 1990 albums.

Empire by Queensryche

Empire by Queensrÿche

Buy Empire

Empire by QueensrycheThe progressive metal band Queensrÿche reached their commercial peak in 1990 with the release of their double-length LP, Empire. This fourth overall album by the quintet from Washington state, reached triple-platinum in sales, spawned several radio hits, and received a Grammy nomination. The group, which is known for sound re-invention and experimentation, may have taken their boldest step yet by stripping away much of their heavy metal elements in order to concentrate heavier on songcraft.

Queensrÿche was founded in the late 1970s by guitarists Michael Wilton and Chris DeGarmo, who were later joined by bassist Eddie Jackson and drummer Scott Rockenfield in 1980. A year later, the group recorded a demo tape with the assistance of vocalist Geoff Tate, who was a member of a rival band in the Seattle area. After two years of circulating the demo tape, it was finally released as a self-titled EP in 1983, leading to the group’s signing with EMI shortly after. In 1984, the group travelled to London to record their first full-length album, The Warning, which was released in September of that year. Rage For Order followed in 1986, leading to Operation: Mindcrime, a narrative concept album that reaped much critical success upon its release in 1988. This, combined with relentless touring, set the band up for their breakthrough success.

For Empire, the group brought in producer Peter Collins, most famous for working with Rush on a couple of their mid-eighties albums. Together, the band and producer worked to split the difference between popular hard rock and progressive-flavored metal. Although only eleven tracks, nine of these are in excess of five minutes in duration, pushing the overall length to double-album length on vinyl.


Empire by Queensrÿche
Released: August 20, 1990 (EMI)
Produced by: Peter Collins
Recorded: Vancouver Studios, Vancouver, & Triad Studios, Redmond, WA, Spring 1990
Track Listing Primary Musicians
Best I Can
The Thin Line
Jet City Woman
Della Brown
Another Rainy Night (Without You)
Empire
Resistance
Silent Lucidity
Hand On Heart
One and Only
Anybody Listening?
Geoff Tate
Lead Vocals, Keyboards
Chris DeGarmo
Guitars, Keyboards
Michael Wilton
Guitars
Eddie Jackson
Bass, Vocals
Scott Rockenfield
Drums, Percussion
 
Empire by Queensrÿche

Written by DeGarmo, “Best I Can”, launches the album with a dramatic synth intro and spoken vocals until these give way to a choppy synth piano with choir-like vocals in the intro to the first verse. The lyrics examine overcoming odds while suffering a physical handicap. “The Thin Line” is a riff-driven rocker with heavy bass presence by Jackson during the verses, and impressive guitar leads later on. A driving track with accessible riffs and hooks, “Jet City Woman” talks about coming home to family after a long road trip. Written by Tate for his flight attendant wife, this straight-ahead hard rocker was released as a single and reached the Top 40 in the UK.

Empire‘s original second side is where the album starts to get interesting. “Della Brown” is built on the funky bass rudiments with choppy drum beats, reserved guitar motifs and a fine lead melody. While it never leaves its pace or temperament through its seven minute duration, it does employ many long lead and effects sections. This is followed by three tracks which showcase Wilton’s writing and playing. “Another Rainy Night (Without You)” starts with harmonized guitars and settles into a standard, steady rock track, which reached #7 on the Mainstream Rock charts. The title song starts with some answering machine effects and breaks into a groove which is heavier than the preceding tracks. “Empire” is about drug trafficking and the bridge section is complete with a telephone-like voice reading statistics of law enforcement spending versus other expenditures. “Resistance” is heavier yet, at least through the intro. Here, Tate provides high register vocals and the track is also a bit of a showcase for Rockenfield.

The album’s most popular track is also its finest. “Silent Lucidity” starts with DeGarmo’s picked acoustic accompanied by Tate’s fine, reserved vocals. Very mellow with rich production throughout, the song really takes off with the tension-building lead guitar, complete with spoken vocal effects, making the whole thing sad and beautiful at once. The biggest hit for the band, “Silent Lucidity” peaked at #9 on the Billboard singles chart and topped the Album Rock Tracks chart.

“Hand On Heart” features duo guitars and bass along with an interesting arrangement which surrounds the basic rock format, while “One and Only” is a choppy rocker that has a bit of a Journey-vibe to it. Rounding out the album is “Anybody Listening?”, a dark-tinged track that is slow and methodical for maximum dramatic effect. The arrangement weaves in and out of prog rock and metallic ballad modes and includes a slight, fretless bass, which adds a nice effect to close everything out.

Empire peaked at number 7 in the US and sparked a massive headline tour for Queensrÿche. While the group had continued success through the early nineties, they would not peak at this level again.

~

1990 images

Part of Classic Rock Review’s celebration of 1990 albums.

Bossanova by Pixies

Bossanova by Pixies

Buy Bossanova

Bossanova by PixiesOne who appreciates an album which flows in a seamless order from track to track will not be happy with Bosanova, a collection of short tracks that change radically from one track to the next. The third studio album by Pixies, the album’s original material was written by frontman Black Francis. The sound includes elements of punk, new wave, Brit pop, surf rock and 60s pyschedelia. Although the album only reached #70 in the US, it fared much better in the UK, reaching the Top 5 on their charts.

The group formed in Amherst, Massachusetts in 1984 when Francis began jamming with guitarist Joey Santiago. In early 1986, bassist Kim Deal and drummer David Lovering joined to round out the quartet which chose their name from randomly arriving at “pixies” in the dictionary. In 1988, the band recorded and released their critically acclaimed first full-length album, Surfer Rosa. Producer Gil Norton produced their second full album, Doolittle, which employed a much cleaner sound than the debut but found similar critical acclaim.

In early 1990, the band members relocated to Los Angeles to write an record the album. With little time to rehearse along with a few some studio issues, some of the material may have been underdeveloped. While Francis admitting to writing lyrics on napkins just “five minutes” before he sang on some of the tracks, he has also stated that this is his favorite Pixies album.


Bossanova by Pixies
Released: August 13, 1990 (Elecktra)
Produced by: Gil Norton
Recorded: Hollywood, Berlin, & London, 1990
Track Listing Primary Musicians
Cecilia Ann
Rock Music
Velouria
Allison
Is She Weird
Ana
All Over the World
Dig for Fire
Down to the Well
Happening
Blown Away
Hang Wire
Stormy Weather
Havalina
Black Francis
Lead Vocals, Guitars
Joey Santaigo
Guitarss
Kim Deal
Bass, Vocals
David Lovering
Drums, Percussion
 
Bossanova by Pixies

The surf-infused “Cecilia Ann”, written by Frosty Horton and Steve Hoffman, is a cool instrumental with heavy distorted guitars by Santaigo. This is followed by “Rock Music”, a literal screed with more than its share of distortion and feedback effects in its less-than-two-minute duration. In contrast, the vocals are smooth and the music is subtle on “Velouria”. The song also features s subtle theremin by guest Robert F. Brunner. “Velouria” was the first single by Pixies to reach the UK Top 40.

“Allison” is an extremely short, almost pop song which seems like the start of a something that was abandoned when one’s attention span was diverted. “Is She Weird” is built on Deal’s driving bass and bright guitar riffs in the verses, while “Ana” is a spacey ballad with fine guitars over the odd chord structures and breathy vocals, all compressed into 129 seconds. The longest track on the album, “All Over the World” has a real new wave feel with the drums of Lovering right up front, along with harmonized vocals in the verses. This track is one of the few with a proper mid section, and it is laced with distant, spoken vocals behind the dueling guitar chops which lead to the outro of the track.

“Dig for Fire” is another interesting track with choppy but entertaining phrases and Talking Heads-like lead vocals. This song is almost danceable in comparison to other tracks and it peaked at #11 on the Modern Rock Tracks chart. After the emo drone of “Down to the Well”, the eclectic track “The Happening” starts as a dance track built with punk toppings but takes a quick and drastic turn during the first chorus and never really returns to its roots. “Blown Away” is a spacey, sixties type rock with upbeat rhythms and distant vocals and guitars, while “Hang Wire” returns to the new wave and gives the album its title;

Every morning and everyday, I’ll bossanova with ya…”

“Stormy Weather” is measured and sing-songing with Santiago’s bluesy guitars cutting through> The entirety of lyrics is one repeated line, offered in different variations much like the Beatles’ “You Know My Name, Look Up My Number”. Rounding out the album, “Havalina” is a fine sonic piece with bright guitar chords and duo vocals in the distance by Francis and Deal.

A year after Bossanova, the band released their final album before Francis abruptly announced that Pixies was finished as a band (with no explanation) in early 1993.

~

1990 images

Part of Classic Rock Review’s celebration of 1990 albums.

Extreme II, Pornograffitti by Extreme

Extreme II: Pornograffitti
by Extreme

Buy Extreme II: Pornograffitti

Extreme II, Pornograffitti by ExtremeThe rock quartet Extreme reached their popular climax with Extreme II: Pornograffitti. Sub-titled “A Funked Up Fairy Tale”, the album is a quasi-concept album with loosely-related songs that explore themes of sex and vice with lyrics primarily written by lead vocalist Gary Cherone. Musically, the album is dominated by the guitar textures and techniques of co-composer Nuno Bettencourt. The double-platinum selling result was an album which peaked at #10 on the Billboard album charts.

Extreme was formed in suburban Boston in 1985 by Cherone and drummer Paul Geary. Bettencourt and bassist Pat Badger were in rival bands and the four met after an altercation among the groups backstage at a multi-band local concert. Starting in 1986, the band gradually developed a strong local following and, during this time, Cherone and Bettencourt composed several original songs. They were signed to A&M Records in 1988 and recorded and released their self-titled debut album in 1989.

For their second album, veteran rock producer Michael Wagener was brought in. A mixture of funk, pop and hair metal sounds, the group’s hard sound was heavily influenced by Sammy Hagar-era Van Halen. However, the group is not done any great favors by the production style, which buries some of the finer elements of the playing in favor of the mind-numb beats and top-end “shearness”. Also, the band tries to take some kind of social stand or social commentary, which often comes off as adolescent, shallow or both. Ironically, it was two of the tracks which bucked these sonic and lyrical trends that became the band’s most successful.


Extreme II: Pornograffitti by Extreme
Released: August 7, 1990 (A&M)
Produced by: Michael Wagener & Nuno Bettencourt
Recorded: Scream Studios, Studio City, CA, 1990
Track Listing Primary Musicians
Decadence Dance
Li’l Jack Horny
When I’m President
Get the Funk Out
More Than Words
Money (In God We Trust)
It ‘s a Monster
Pornograffitti
When I First Kissed You
Suzi (Wants Her All Day What?)
He-Man Woman Hater
Song for Love
Hole Hearted
Gary Cherone
Lead Vocals
Nuno Bettencourt
Guitars, Piano, Keyboards, Vocals
Pat Badger
Bass, Vocals
Paul Geary
Drums, Percussion
 
Extreme II Pornograffitti

The album begins with “Decadence Dance”, which gives the listener a good sampling of what’s to follow both musically and thematically. Released as a single, the opener was a minor success in the UK, peaking at #36. “Li’l Jack Horny” features intro guitar harmonics for melodic effect by Bettencourt before he changes direction with a strong, bluesy riff. A fine track overall with good melody of lyrics that use nursery rhymes and fables, the song borrowed its title from the six member “Li’l Jack Horn Section”, who performs on this track and “Get the Funk Out”. The latter track is driven by the bass pattern of Badger and features Pat Travers on co-lead vocals.

“More Than Words” is a fine finger-picked ballad where Cherone and Bettencourt are free to fully display their talents at the fullest. For how over-produced most of the rest of the album is, the sparse arrangement here is a brilliant break in the action, and worked well to make this a quasi-classic. Lyrically, the song examines the diminished meaning of phrase “I love you”, as actions speak louder. The song became a #1 smash on the Billboard charts in the US. The subsequent single, “Hole Hearted”, another acoustic track, was also successful, rising to No. 4 on the same popular music chart.

Extreme II: Pornograffitti has some weak moments through the middle of the album. “Money (in God We Trust)” starts with a slight dialogue about the tooth fairy before the upbeat core tries to be anthemic and preachy at the same time. Not very original or interesting and, in fact, the hook borrows heavily from AC/DC’s “What Do You Do for Money Honey”. Likewise, “It’s a Monster” 4:28 – really covers no new ground at all and, while the title track “Pornograffitti” begins with some blistering guitar riffs by Bettencourt and eventually settles into a rudiment-fused groove with steady beat, it really amounts to more Van Halen-style cloning.

The second break from form, “When I First Kissed You”, is jazzy piano ballad, completely sans guitar. Here, Badger appears to be using a stand-up, double bass which adds to the song’s feel of authenticity as well along with the fine orchestral strings over the bridge. “Suzi (Wants Her All Day What?)” is another hard rock narrative, while “He-Man Woman Hater” includes an excellent guitar intro that borrows from “Flight of the Bumblebee” with Bettencourt’s guitar accompanied by rapid, percussive tapping by Geary. Dweezil Zappa makes a cameo with the cartoonish voice of the title character. This is followed by “Song for Love”, a slow ballad with a dark feel throughout.

The album concludes with its finest track, “Hole Hearted”, which lifts the mood tremendously following the droning previous track. A stomp built on the ringing 12-string acoustic of Bettencourt, this track also has some of the finest melodies by Cherone, accompanied during the pre-chorus and chorus. The song is pure pop majesty and never needs to embellish on its simple arrangement to exude its pure rock energy. The fourth and final single from the album, “Hole Hearted” reached #4 on the US charts.

For his proficient playing on Extreme II: Pornograffitti, Bettencourt was named “Most Valuable Player” of 1991 by Guitar World magazine. The band followed up with the album III Sides to Every Story in 1992, but it failed to sell nearly as well. More than two decades later, Extreme performed Pornograffiti in its entirety on their 2014 tour.

~

1990 images

Part of Classic Rock Review’s celebration of 1990 albums.

Social Distortion

Social Distortion

Buy Social Distortion

Social DistortionAfter working for over a decade to refine their sound, Social Distortion finally got their opportunity for a major label release in 1990. Their third overall album, Social Distortion,  displays the group’s unique mixture of blues and rockabilly flavored punk rock. Led by primary composer and vocalist Mike Ness, the group found the time and resources to find their true sound. They also found themselves fortuitous beneficiaries of a changing musical environment, which was growing more receptive to alternative sounds.

Social Distortion was formed in 1978 by Ness and guitarist Dennis Danell. By 1981, the group released their first of many singles, which was followed by their debut album, Mommy’s Little Monster in 1983, released on their own independent label. After a brief hiatus in the mid eighties, the band reformed with new members John Maurer on bass and Christopher Reece on drums and released their second album, Prison Bound in 1988.

After signing with Epic Records in 1989, the band returned to the studio with producer Dave Jerden. Now armed with more time and money than ever before, Social Distortion worked out a lean and powerful sound, partially influenced nearly in equal parts by The Ramones and by Johnny Cash.


Social Distortion by Social Distortion
Released: March 27, 1990 (Epic)
Produced by: Dave Jerden
Recorded: Track Record in North Hollywood, CA, August–October 1989
Track Listing Group Musicians
So Far Away
Let It Be Me
Story of My Life
Sick Boys
Ring of Fire
Ball and Chain
It Coulda Been Me
She’s a Knockout
A Place in My Heart
Drug Train
Mike Ness – Lead Vocals, Guitars
Dennis Danell – Guitars
John Maurer – Bass, Vocals
Christopher Reece – Drums, Percussion
 
Social Distortion

Social Distortion begins with the track “So Far Away”, written by Ness and Maurer. The two guitar riff attack with rapid rhythms highlights a very simple song structure, while the clear lyrical message gives song its head wagging creds. “Let It Be Me” is pure, raw, punk straight from the seventies and a good overall energetic performance highlighted by the creative way Ness drawls out the main title hook, all very adolescent and rebellious while still being apt musically. “Story of My Life” is one of the more melodic tracks with root rock n roll elements and nice backing vocals and medleys.

While entertaining enough, “Sick Boys” is really nothing new in its musical approach, just a bunch of Na Na Na’s to make it sing-along-able. The fully punked-out cover of Johnny Cash’s “Ring of Fire” subtly lets the main melody ring out through the distortion and is vastly entertaining even if it falls far short of the original 1966 masterpiece. The song was a minor hit, reaching #25 on the Modern Rock Tracks. Another hit radio , “Ball and Chain” features bright music which is contrasted by rough vocals, but they melodic enough to make it all work.

Coming down the stretch, the album gets only stronger. “It Coulda Been Me” is notable because of its fine harmonica interludes and a great lead later, while maintaining a sound that is very catchy and accessible. A long, upbeat drum leads into “She’s a Knockout”, a song which tilts towards heavy blues rock, at least musically. After a false stop halfway through, the whole song repeats again, virtually verbatim. “A Place in My Heart” is one of many tracks on this album which have a standard, love song-type title while actually being upbeat and intense. “Drug Train” is a bluesy romp to close the album, with excellent playing by each member, while sparse but effective lyrically. With a good harmonica and slight blues guitar leads, this track ends the album on a high note.

While Social Distortion only peaked at #128, it did remain on the album charts for over 20 weeks. More importantly, it set the band up for more success through the nineties and influenced a new sub-genre known as “cow punk”.

~

1990 images

Part of Classic Rock Review’s celebration of 1990 albums.

The Rhythm of the Saints by Paul Simon

The Rhythm of the Saints
by Paul Simon

Buy The Rhythm of the Saints

The Rhythm of the Saints by Paul SimonEver the artist searching for a new, authentic sound, Paul Simon went to Brazil and employed the heavily percussive samba known as Batucada for his 1990 album, The Rhythm of the Saints. Here Simon fuses his witty pop and folk roots with Latin musical and rhythm techniques by employing nearly 70 session musicians. Beyond the vast number of Latin and African musicians, Simon also brought in contemporary musicians such as guitarist J.J. Cale, drummer Steve Gadd and vocalist Kim Wilson.

The album’s conception came on the heels of Simon’s tremendous success with Graceland, the 1986 release where he worked with South African musicians and vocalists. This gave the composer a taste of world music which he chose to pursue again for his next project starting in the late eighties. While maintaining some musicians from the Graceland sessions, such as the vocal group Ladysmith Black Mambazo, most of the backing musicians were from Latin America such as the popular Grupo Cultural Olodum.

Simon produced the album and first recorded most of the rhythm tracks in Rio de Janeiro, starting in December 1989. Guitarist Vincent Nguini performed on several of the tracks as well as helped out with several of the arrangements (and has remained a member of Simon’s band ever since). Overdubs were recorded and the album was mixed at The Hit Factory in New York City in mid 1990.


The Rhythm of the Saints by Paul Simon
Released: October 16, 1990 (Warner Bros.)
Produced by: Paul Simon
Recorded: Rio de Janero, Brazil, December 1989–June 1990
Track Listing Primary Musicians
The Obvious Child
Can’t Run But
The Coast
Proof
Further To Fly
She Moves On
Born At the Right Time
The Cool, Cool River
Spirit Voices
The Rhythm of the Saints
Paul Simon – Lead Vocals, Guitars
J.J.Cale – Guitars
Naná Vasconcelos – Percussion
 
The Rhythm of the Saints by Paul Simon

Although not originally intended to do so, “The Obvious Child” starts The Rhythm of the Saints off. As the lead single from this decidedly non-pop-oriented album, the label insisted that it be placed first on the album, (against Simon’s own wishes) and the track went on to be Simon’s final Top 20 hit. The military-type drums were recorded live in an outdoor square and add much contrast to the chanting vocals by Simon above strummed acoustic. The second track, “Can’t Run But”, is built on much more subtle rhythms, a xylophone, and a subtle bass, all too calm and cool against Simon’s signature rapid vocals. There is a slight bluesy guitar in the distance making this reminiscent of some of the Police’s more extravagant tracks, with lyrics that deal with the 1986 Chernobyl incident.

“The Coast” was co-written Nguini and starts with subtle hand drums, like a jungle rhythm in the distance. This song is built on brightly picked electric guitar with notes that nicely squeeze out and builds with some brass before relinquishing to a percussive chorus and starting over again. “Proof” contains good, strong brass horn accents over complex but subtle rhythms that topically rotate through an almost-digital like arpreggio while the bass rhythm uses simple 4/4 duo beats. There are also good vocal variations and plenty of interesting instrumental interludes. “Further to Fly” is more bass driven and almost jazzy in approach, but not quite as rewarding as the previous tracks, seeming like a more improvised, rehearsal-like track.

“She Moves On” may be the first song which reflects the folk roots of Simon, albeit it does have some jazzy bass, horns, and smooth guitars and (of course) a chorus of percussion. Written about Simon’s ex-wife, actress Carrie Fisher, this lover’s lament brilliantly incorporates a female chorus for a single line with great effect. “Born at the Right Time” is just as interesting, with bright guitars, bass, accordion, and a catchy melody which makes this one of the more accessible songs on the album. In contrast, “The Cool, Cool River” is one of the more modern sounding tracks, especially during the verses and kind of takes a left turn in feel and tempo during the ‘B’ sections.

Paul Simon

Coming down the stretch, “Spirit Voices” is more music oriented than most of the tracks with a few complementing guitars and a wild fretless bass under Simon’s whimsical vocals. Co-written by Brazilian songwriter Milton Nascimento, this track is uplifting overall. The title track “The Rhythm of the Saints” finishes off the album and, like the title suggests, the percussive orchestra returns with a vengeance to the point of nearly overwhelming the light guitar, bass, and vocals of Simon. The later call and response vocals between Simon and a chorus are almost spiritual in nature.

It is hard to surmise whether The Rhythm of the Saints has an over-exuberance of percussion which distracts from the core song craft or if the opposite is true, meaning these track may not have been quite as interesting without the arrangements. In any case, this album was a critical and commercial success all over the world and yet another high water mark in the long and brilliant career of Paul Simon.

~

1990 images

Part of Classic Rock Review’s celebration of 1990 albums.

Facelift by Alice In Chains

Facelift by Alice In Chains

Buy Facelift

Facelift by Alice In ChainsAlice In Chains released an impressive debut album in 1990 with Facelift. Some have given this record the distinction of being the first “grunge” record to be certified platinum, although we may stipulate that this album is not strictly “grunge”. The group has a strong heavy metal pedigree, which shines through the otherwise methodical and moody tunes. In all, Facelift is full of tracks which are heavy, melodic and dark and it (unintentionally) became the wellspring for musical trends to come.

The group originated when vocalist (and then drummer) Layne Staley met guitarist Jerry Cantrell at a Seattle rehearsal studio in the mid eighties. The two struggling musicians instantly bonded and worked on several musical projects together before Alice In Chains fully formed. In 1988, the group recorded a demo which eventually made its way to Columbia Records‘ A&R department and representative Nick Terzo, who set up an appointment with label president Don Ienner. Based on The Treehouse Tapes, Ienner signed Alice in Chains to that label in 1989.

After the release and success of an EP earlier in 1990, the label fast tracked the production of the debut album with producer Dave Jerden. Mainly recorded at London Bridge Studio, Cantrell felt that the album’s moody aura was a direct result of the feel of Seattle. Meanwhile, drummer Sean Kinney claims he recorded the album with a broken hand because he didn’t want to miss the group’s “first big break.”


Facelift by Alice In Chains
Released: August 21, 1990 (Columbia)
Produced by: Dave Jerden
Recorded: London Bridge Studio, Seattle & Capitol Recording Studio, Hollywood, December 1989-April 1990
Track Listing Group Musicians
We Die Young
Man In the Box
Sea of Sorrow
Bleed the Freak
I Can’t Remember
Love, Hate, Love
It Ain’t Like That
Sunshine
Put You Down
Confusion
I Know Somethin (‘Bout You)
Real Thing
Layne Staley – Lead Vocals
Jerry Cantrell – Guitars, Vocals
Mike Starr – Bass, Vocals
Sean Kinney – Drums, Percussion, Piano

 
Facelift by Alice In Chains

The opening track “We Die Young” comes in as a standard hard rock song with a just a bit of vocal and lyrical edge. Cantrell wrote the song when he observed on a bus some “9 or 10 year-olds with beepers to deal drugs”. This track, which originated on the group’s earlier studio EP, clocks in at just two and a half minutes and ends just as aprubtly as it begins.

The true gem of Facelift comes early on with “Man In the Box”. The track employs simple but masterful sonic expressions and a steady drive which could uniformly cut through Staley’s lead vocals. Cantrell uses a talk box effect with bassist Mike Starr holding down the bottom end of the grinding riff. Released as a single in 1991, this became the signature song of the band’s early career and was nominated for a Grammy Award for Best Hard Rock Performance in 1992.

 
Kinney’s choppy piano complements Cantrell’s slide guitar notes during the deceptive beginning of the beat and rhythm driven “Sea of Sorrow”. The song peaked at number 27 on the Mainstream Rock Tracks and was a moderate radio hit. “Bleed the Freak” is the first somewhat weak track on the album, with the vocals a bit whiny, while “I Can’t Remember” extends the preceding track but with a darker, more foreboding feel. The body of this latter song uses timing for maximum effect, even if the song never really accelerates from its slow and deliberate pace.

The heart of the album contains some of the more diverse tracks. The extremely slow “Love, Hate, Love” features some competing riffs that somehow end at the same place during the sparse but effective verses, while the choruses are even more impressive due to Staley’s soaring vocal melody as he wails through lyrics of standard love fair. Cantrell offers some Wah-Wah effects on “It Ain’t Like That”, which has strong elements of traditional eighties heavy metal, but with the dark overtones that tilt it towards grunge. A bright chorus of guitars make the verse section of “Sunshine” unlike anything else on the album, although this track’s chorus is a little more straight-forward hard rock, with Cantrell singing some smooth backing vocals behind Staley’s raspy throat. “Put You Down” is good-time hard rock musically, in a style reminiscent of our review of Damn Yankees.

Alice In Chains

The final three tracks are all excellent and work to close the album very strongly. The slow, moody, stream-of-consciousness that starts off “Confusion” is complemented by an odd chord progression that adds to the overall effect. Co-written by Starr, who adds enough low-end bass punch, this song builds nicely in intensity through the chorus and is one of the few tracks to have a proper lead guitar and it is bluesy and effective for this fine song. “I Know Somethin (Bout You)” has a very funky intro by Cantrell and Starr. Masterfully odd timings throughout make this one of the more entertaining tracks along with the complex vocal patterns during the chorus hooks, which help build the song to a climax before its abrupt ending. “Real Thing” is a bit of  traditional blues mixed with straight-forward heavy rock. Like tracks earlier on the album, the sonic textures carry the day on this closer which works to elevate the album to the classic level.

Facelift barely missed the Top 40 on the album charts and was far from an instant success, selling less than 40,000 copies in its first six months. But there is still little doubt that, with this album, Alice In Chains was a blazing a trail for the deluge of change that was about to come to the music scene.

~

1990 images

Part of Classic Rock Review’s celebration of 1990 albums.

Damn Yankees album cover

Damn Yankees

Buy Damn Yankees

Damn Yankees album coverBefore its swift exit from the mainstream rock scene in 1991, “hair metal” had its last hurrah during the year 1990. Perhaps the apex of this final phase was the self-titled debut album by the super group, Damn Yankees, which brought together three musicians from different rock outfits, each of whom had tremendous success in the years and decades previous to Damn Yankees. The result was a double platinum commercial success which spawned several radio and charting hits.

Vocalist and guitarist Ted Nugent had been performing live since 1958 and found some mainstream success with his band, the Amboy Dukes, in the late sixties and early seventies. However, when Nugent launched his solo career the mid seventies, he found his greatest success with three multi-platinum albums in consecutive years 1975, 1976, 1977. During that same era, bassist and vocalist Jack Blades formed the funk band Rubicon, which had a few minor hits before breaking up in 1979. The following year, Blades formed a band called “Ranger”, which morphed into “The Rangers” and ultimately, Night Ranger. The group had tremendous success through the 80’s, selling millions of albums and charting several hit singles. Tommy Shaw joined the established Chicago group, Styx, in late 1975 as second guitarist and co-lead vocalist. Over the next eight years, the group had tremendous success, including the standout albums, The Grand Illusion, in 1977 and, Paradise Theatre, in 1981. However, Shaw grew increasingly dissatisfied with the direction of the group’s music towards pop ballads and theatrical role playing, so he left Styx to pursue a solo career which yielded three albums in the late eighties.

Damn Yankees was formed in 1989, with drummer Michael Cartellone (who had played in the final stages of Shaw’s solo band) rounding out the quartet. Some of the material on this album was brought in by individual members, but most was composed collaboratively in the studio. Producer Ron Nevison also brought in multiple session musician to enrich the music and allow the three vocalists to concentrate on melodies and harmonies.


Damn Yankees by Damn Yankees
Released: February 22, 1990 (Warner Bros.)
Produced by: Ron Nevison
Recorded: A&M Studios, Hollywood, CA & Can-Am Studios, Tarzana, CA, 1989-90
Track Listing Group Musicians
Coming of Age
Bad Reputation
Runaway
High Enough
Damn Yankees
Come Again
Mystified
Rock City
Tell Me How You Want It
Piledriver
Tommy Shaw – Guitars, Vocals
Ted Nugent – Guitars, Vocals
Jack Blades – Bass, Vocals
Michael Cartellone – Drums
 
Damn Yankees

The album starts with the hit, “Coming of Age”, which sets the pace for the slick, polished, hard rock sound of the album. Blades brought this popular song with him into Damn Yankees, which features catchy, chanting vocal motifs, accented by accent by Nugent’s choppy riffs, which all worked to make this perfect for pop and rock radio alike. “Bad Reputation” follows in the same vein as a pure riff-driven raunch, unambiguous lyrically and not too far from that musically – steady beat throughout – nice bridge with complex vocal patterns before song returns with Nugent’s blistering lead. After some cool deadened guitar notes in the intro, “Runaway” launches into a full-fledged pop rocker. Led by Shaw’s lead vocals, the song contains nice complements throughout, including some sparse but tactical keyboards by session man Steve Freeman.

The album’s best track is also its most popular. “High Enough” is a ballad which starts and ends with a string ensemble put together by Nevison with strummed acoustic during initial verse. Shaw’s high harmonies perfectly complement Blades’ lead vocals on this track filled with harmonic bliss, both vocally and musically. Further, there is enough arrangement variation to make this Top 5 hit a true classic from the album.

Damn Yankees‘s title song has an Aerosmith-like feel in its riffing, but a much different vibe once the vocals come in. The mid section of this track is dominated by Nugent, with several wild effects through the guitar lead and lead vocals over the bridge. “Come Again” is a folk ballad by Shaw which reflects some of the arena ballads by Styx. Beginning with a picked acoustic during the verse, this song continuously builds in a moody but melodic track that is contrasted by Nugent’s frenzied guitar riffs. “Mystified” starts with some great blues elements, including some slide guitar over initial porch-stomp verses. The song soon turns into a more standard rock drive, but maintains the great blues harmonics during Nugent’s soaring lead, making this the last real highlight of the album.

The remaining three tracks are not the strongest. “Rock City” a bit of frivolous number, only really there for the mind-numbed partier, making it one of the weaker numbers on the album. Led by the strong but standard drumming of Cartellone and the fine vocal harmonies, “Tell Me How You Want It”, is a track which has all the elements of a hit song in 1990, but never reached that plateau. Nugent’s “Piledriver”,  is almost a direct rip-off of Van Halen’s “Hot for Teacher” in its sonic approach. That’s not to say that Nugent’s guitar is not impressive – it is – but the comic breakdown in the middle of this blistering lead is a bit over the top. Nonetheless, it is an entertaining way to wrap up the album.

Damn Yankees reached the Top 20 on the Billboard album charts and remained a hit well into 1991. The group went on a successful world tour and returned with a 1992 follow-up album Don’t Tread, which was a minor hit on its own. In 1994, Nugent left the group, with Shaw & Blades releasing a single album as a duet before ending the short run of Damn Yankees.

~

1990 images

Part of Classic Rock Review’s celebration of 1990 albums.