Published on Mar 11, 2000
I remember when I started to get into the hard rock/heavy metal
scene way back in 1984. My buddy Ryan and I had discovered the joys
of this music through videos for songs like “Jump,” “We’re Not
Gonna Take It” and “Round And Round,” immediately getting us into
groups like Van Halen, Twisted Sister and Ratt. As we got older, we
got deeper into metal and its various splinter groups – and my
buddy moved to Florida. I don’t talk to Ryan as much as I’d like
to, ’cause we both have jobs and families now, and I don’t know
where his musical tastes have led him to today. Me? My tastes
broadened, but I’ve still had a special place in my heart for hard
rock.
Then again, it’s been a long time since I had listened to
Out Of The Cellar, the full-length debut from Stephen Pearcy
and crew. Would I still think that some of this music was cool to
like? Would there still be redeeming qualities in it that I heard
over 15 years ago?
In the end, it’s a split decision.
Out Of The Cellar still has its moments, but overall the
album hasn’t aged well, instead becoming a living reminder of what
the early days of glam metal were like.
Strong words to describe Ratt – glam metal? Sure, they might not
have owned stock in Maybelline like Poison seemed to in the early
days, but c’mon, the signs were all there. The big hair, the posing
for the cameras (as well as the female fans), the rather insipid
content of the music – consider these three of the big warning
signs that you’re about to enter glam country.
In Ratt’s defense, they still knew how to modulate between soft
and hard in their music. Take “Back For More,” originally a song
included on their self-titled debut EP that Atlantic picked up
after
Out Of The Cellar‘s success. If you could only say one
positive thing about this particular version, it’s that they made
major improvements over the demo version. Fortunately, there’s more
than one good thing to say about this track. The twin guitar attack
of Robbin Crosby and Warren De Martini shines here, and Bobby
Blotzer’s drum work seems to be highlighted as well. Pearcy’s
vocals also are at just the right power level. (Bassist Juan
Croucier seems to be buried in the mix throughout this album – it’s
not that I’m purposely ignoring him.)
The initial hit from
Out Of The Cellar, “Round And Round,” can only be classified
these days as a guilty pleasure that some of us “generation X”ers
occasionally listen to in order to clear out the pipes. Looking
back, though, there really wasn’t much to this song except for a
pretty good balance of guitar work, as well as a video that
featured a hot looking chick and Milton Berle (no, in this case,
not one and the same). Now that I’m older and wiser, I can look
back on this song objectively and declare, from a songwriting
standpoint, it was a dud.
Regrettably, that’s how the balance of
Out Of The Cellar tends to shape up: a decent song paired up
with something that doesn’t hold a candle to the previous work. For
every “Wanted Man” and “Lack Of Communication” (which holds more
than a slight hint of what would come on songs like “Lay It Down”
and “You’re In Love” – cripes, it’s nearly the same goddamn song
each way), there’s a “You’re In Trouble,” “In Your Direction” and
“She Wants Money”.
Sometimes, I get misty eyed about the old days, and I put on an
album like
Out Of The Cellar to bring me back to those times. But then
again, this album reminds me, to paraphrase Loudon Wainwright III,
why they’re “good old days” – and that’s because they’re long past.
Sadly, the bulk of this album is well past its prime.