III Sides to Every Story
| III Sides to Every Story | ||||
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| Extreme studio album | ||||
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Publication |
1992 |
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| Label (s) | A&M Records | |||
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Format (s) |
LP , CD , compact cassette |
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Title (number) |
14th |
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running time |
76:08 |
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| occupation | ||||
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Nuno Bettencourt , Bob St. John |
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Studio (s) |
New River Studios, Abbey Road Studios |
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III Sides to Every Story is the third studio album by the US band Extreme , released in 1992 .
background
After the success of the previous album Pornograffitti (No. 10 in the USA, No. 12 in Great Britain and No. 15 in Germany) and especially the single More Than Words , the group faced the challenge of recording an adequate follow-up album.
Most of the songs planned for III Sides of the Story were written during the tour for the album Pornograffitti and were also rehearsed during that time. Guitarist Nuno Bettencourt produced the album, which was recorded in Fort Lauderdale at New River Studios, where Skid Row had recorded their second album Slave to the Grind the year before . Additional recordings took place at Abbey Road Studios in London. The original release was on a vinyl double album , of which only pages one, two and three were pressed - page four contained no sound groove.
The three "sides" of the album were also found on the CD release, but only in the form of a subdivision of the track list. This was divided into the sections "Yours" (songs 1-6), Mine (songs 7-11) and "& the Truth". This final section contained a more than 20-minute long medley entitled Everything Under the Sun , which in turn consisted of three separate tracks.
Track list
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Chart positions Explanation of the data |
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| III Sides to Every Story - Yours, Mine & the Truth | |||
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| No. | title | Songwriter | length |
| 1. | Warheads | Nuno Bettencourt , Gary Cherone | 5:18 |
| 2. | rest in peace | Bettencourt, Cherone | 6:02 |
| 3. | Politicalamity | Bettencourt, Cherone | 5:04 |
| 4th | Color me blind | Bettencourt, Cherone | 5:01 |
| 5. | Cupid's Dead | Bettencourt, Cherone | 5:56 |
| 6th | Peacemaker Die (Contains excerpts from the speech "I have a dream" by Martin Luther King ) | Bettencourt, Cherone | 6:03 |
| 7th | Seven Sundays | Bettencourt, Cherone | 4:18 |
| 8th. | Tragic comic | Bettencourt, Cherone | 4:45 |
| 9. | Our Father | Bettencourt, Cherone | 4:02 |
| 10. | Stop the world | Bettencourt, Cherone | 5:58 |
| 11. | God Isn't Dead? | Bettencourt, Cherone | 2:02 |
| 12. | Rise 'n Shine | Bettencourt, Cherone | 6:23 |
| 13. | On I Ever Gonna Change | Bettencourt, Cherone | 6:57 |
| 14th | Who Cares? | Bettencourt, Cherone | 8:19 |
| Overall length: | 76.08 | ||
reception
Metal Hammer wrote of the album that "an infusion of More Than Words " will be hard to find on this album. Extreme “stayed true to each other again with this almost concept album (so plenty of funk, melody and groove)”, but this time everything “got to the point even more than on pornography . “Among other things,“ because the four of them have neatly distributed their diverse musical preferences and range on three sides ”. The hard stuff comes "first, of course, whereby the songs (except for Cupid's Dead ) always reached the level of Get The Funk Out ". Color Me Blind in particular lets you “once heard, never let go. World class, the piece! ”Page two begins“ cautiously Queen-like ”( Seven Sundays ) and ends“ thoughtfully with Don't Leave Me Alone ”. The highlight is "the Beatles homage tragic comic , predestined hit single." The masterpiece comes at the end: Rise 'N Shine , Am I Ever Gonna Change? and Who Cares? are “an overly long bombastic composition, difficult to describe and grasp. Similar to the whole album, which is very reminiscent of Queen's early albums due to its density and compactness .
Rock Hard said the album was “as expected”: “Groove until you drop from the tried and tested rhythm team Pat Badger and Paul Geary, world-class guitar work by Nuno Bettencourt, lead vocals by the powerfully voiced Gary Cherone, as always, beyond doubt.” But with that "All similarities to the platinum-refined predecessor Pornography graffiti were exhausted again." III Sides To Every Story contains "despite numerous acoustic inserts neither a new More Than Words nor Get The Funk Out - art affinities tailored to dance-mad crossover audiences ." Which was "the last." Disc of attractive trademarks ”was“ completely left out. ”The replacement program turned out to be“ extremely worth listening to on closer inspection, ”but“ the question remains whether extremes with this follow-up to the big breakthrough are not yours digging a commercial grave. The reviewer emphasizes the division into three chapters, "which showed the most different, at least in this form unknown musical sides of the band from different perspectives". For the most part “hard-rocking, therefore still sounding halfway familiar”, the “Yours” side was canceled, the opener Warheads “almost reminiscent of loudness in its grandiose disillusionment phase”. "Then again moments of surprise when tracks like" Cupids Dead "and" Peacemaker Die "were intoned, which were" equipped with such immensely Beatlesque harmony chants "that one would" rather expect them to be on a King's X record ". “The Confusion Second Act” is the following “mine” side, “on which things are much quieter”. Seven Sundays come "with its piano and Steich interludes almost like a brilliant number from Joe Jackson's " Night & Day "phase, Tragic Comic, on the other hand, has something of the relaxed Seventies-Pop of Gilbert O'Sullivan , while the ballad God Is Dead? When it comes to pathos and drama, it can easily take on the most melancholy Queen moments ”. As if that weren't enough, extremes clumped on the concluding The Truth: Everything Under The Sun -Side “with a kind of seventies rock opera in pocket size, based on bombastic pomp, whose musical godfathers are somewhere in the intersection of Kansas , Styx , Genesis and Supertramp "should be. The bottom line is that it is “a very interesting album that wants to be discovered” and requires that “you take your time for it.” But this is “also his dilemma:” Brian May will understand III Sides To Every Story “, but the little girls will NOT understand. "
Musikexpress wrote that anyone who survived the first part of the Extreme Trilogy could breathe a sigh of relief: the worst was behind them. Even zealous rock chroniclers would “hardly find a band who gets down to business on such an elaborately produced album with less ideas than the superstars with the hair from the shampoo advertising. Van Halen riffs stupid and repeated to the point of unconsciousness, limp eighty-fifteen songs and lyrics for people with kindergarten qualifications, "the More Than Words -" Fan base definitely not waited for that. "The" climax of the embarrassments "is reached when, during "In the background the" I had a Dream "speech by Martin Luther King can be heard, Extreme:" Peacemaker Die! " over a roaring boredom reef ”screeched. Then it becomes “more pleasant:” the ballad Seven Sundays gives hope, a little tragic comic too . But then Extreme went “with the help of a string orchestra on the unsuccessful search for a More than Words successor,” and at some point the idea was to “record these grandma's songs for Christmas - maybe you would get the constant choirs that sound like Queen want, but get stuck somewhere shortly before ELO , even fallen. "The rest of the fans are still aware that" a three-sided album like Three Sides To Every Story also has its good points "-" namely one page less than a double album. "
Web links
Individual evidence
- ↑ Never Ending Story in Metal Hammer, issue 7.1992, p. 16.
- ↑ Liner Notes for the album (CD edition)
- ↑ Escape from the cozy corner. In: Musikexpress, issue 7.1992, p. 74.
- ↑ Charts DE Charts UK Charts US
- ↑ Jörg Staude in: Metal Hammer, issue 10.1992, p. 64.
- ↑ Oliver Klemm in Rock Hard, issue 65
- ↑ Musikexpress, issue 10.1992, p. 64.