Published on May 1, 2001
L.A. Guns were an example of how hype could make a band in the
late ’80s – and how it could just as easily break a band. Riding on
the ties to Guns ‘N Roses (guitarist Tracii Guns was once a
member), and the strength of songs like “Never Enough” from
Cocked And Loaded, the group earned their place in the minds
of hard rock fans.
Then, almost as suddenly as their rise, the bottom fell out for
L.A. Guns. Changes in people’s musical tastes and changes within
the band all helped to push the group to the border of “where are
they now” status, even while they continued to slug it out with new
releases.
I fell away from L.A. Guns quickly, and have never spent a lot
of time catching up with their discography. That all might change,
though, thanks to their latest release
Man In The Moon. Featuring 80 percent of the original lineup
(singer Phil Lewis and keyboardist Mick Cripps return for this
album) and a new approach to the music that made them famous, this
disc reflects a band who have lived through some major musical
changes and have not only survived, but thrived.
If you like your guitar chords crunchy, Guns does not disappoint
throughout
Man In The Moon – but what is notable is that the group
doesn’t always go for the hard rock/heavy metal jugular. It’s not
the riffs that power these songs – it’s the songwriting. (Imagine!
A metal band that features
songs! Who woulda thunk it?)
Man In The Moonis a surprisingly mature album from this band
– even though there still are occasional flashes to their past.
“Spider’s Web” is an example of how a band can retain their hard
rock prowess while working within the boundaries of a song that has
an absolute groove to it. The verses and the chorus have a
wonderful interplay, and Lewis almost tries to tone down his vocal
delivery to match the musical output of his bandmates. Whatever the
case, it works, and it works well.
Likewise, “Don’t Call Me Crazy” is an absolutely beautiful
ballad that gives L.A. Guns the chance to be introspective on both
their songwrtiting and their musicianship. It would have been one
thing for Guns to have tried to raise the mood with a killer solo;
instead, he practices moderation, and maintains the mood of the
song. Well done!
Most of
Man In The Moon features a side of L.A. Guns that many
people probably never thought existed. The only drawback to this is
that often no one instrument stands out. I can understand Guns
maybe wanting to pull back a little bit in the mix, allowing his
bandmates to share the spotlight. But I’d have done simple things,
like bumped Lewis up a notch or two in the mix.
There are but two mistakes on
Man In The Moon. “Good Thing” tries to create a Lenny
Kravitz-like vibe, and it just never takes off for the band. And
while “Fast Talkin’ Dream Dealer” is a decent enough song, I would
question the obscenities in it. I have no problem with the words
being used, mind you – but it sometimes feels like the band put
this particular word in not only because they could, but because
they wanted a link to their early image. All it does is distracts
from the whole picture of what could have been a great song.
If you once were a fan of L.A. Guns and you fell away for one
reason or another,
Man In The Moon is the disc that should get you interested
in this band once again. L.A. Guns might have passed their time on
the red carpet, but if this disc proves anything, it shows that
this band is screaming for your attention with a high-quality disc.
Go ahead, listen to them. You’ll be glad you did.