| Extreme | 1989 |
| Extreme II: Pornograffiti | 1990 |
| III Sides To Every Story | 1992 |
| Waiting For The Punchline | 1995 |
| An Accidental Collication of Atoms (compilation) | 1997 |
Almost undoubtedly, these guys are one of the most misunderstood, and also talented, bands of the late 80's-early 90's hard rock scene. The general public may only know them for their two hits on their second album (a couple fairly ordinary acoustic ballads released during a time when commercial hard rock was getting way too overpopulated with crap from the genre), but there's so much more to them than that. Okay, maybe not a lot, as this was a band with a fairly short career, but still, in blending together the influential styles of Queen's theatrical bombast, Van Halen's party metal, and the strong sense of melody and harmony The Beatles always had, they created some of the greatest hard rock moments of the last 15 or so years, at least in my humble opinion. That, and their guitarist Nuno Bettencourt was absolutely phenomenal, possessing a truly gifted talent for captivating the listener with his near-impossible mastery of riff and solo well comparable to predecessor Eddie Van Halen.
Speaking of Van Halen, though, these comparisons are probably unfortunate for frontman Gary Cherone these days (a guy who could pass for a brilliant cross between David Lee Roth and Freddie Mercury), since he was the lead vocalist on VH's much despised 3 album. But regardless of whatever subpar performance he might have been responsible for on that record, that doesn't change my opinion that both his clever lyric writing (and dynamic singing skills) are an essential part of what makes the band work. Oh, and what also made the band work was the amount of funk in their sound - in fact, they were one of the most effective bands at merging that style with hard rock and metal, in no small part due to the often overlooked and quite dependable rhythm section of Pat Badger (bass) and Paul Geary (drums).
As far as the songwriting goes, this band always had a far more ambitious outlook than most of their contemporaries, and their arrangements often drifted quite a bit into the artsier and diverse side (combining their trademark funk, pop, and metal with art rock elements like classical and vaguely Broadway-ish music among other things), culminating in their ultimate masterpiece III Sides To Every Story. Unfortunately, their fortunes came crashing down by their fourth album, a much more stripped down and less overblown release than previous offerings, and a complete failure commrcially. Frustrated by their situation, and coupled with escalating feuds between Gary and Nuno, Extreme disbanded and faded nearly into obscurity. But not before leaving a fine, though short, body of work.
--Nick Karn
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(reviewed by Nick Karn)
HIGH POINTS: Play With Me, Watching Waiting, Wind Me Up, Teacher's Pet. LOW POINTS: Little Girls, Big Boys Don't Cry.
On the surface, maybe Extreme's debut doesn't offer anything substantially different from its' mid-late 80's hair metal contemporaries in terms of style, and the Van Halen and Queen influences are both really apparent in the fun rock and rollers and epic theatrical excursions respectively, but I'll be damned if it isn't a lot more fun and inventive in a clever way than any of the band's peers I could mention. But what exactly makes it that way? Well, the lyrics of Gary Cherone here may seem like absolute high school nonsense on the surface, but like Roth-era Van Halen before them, Extreme (and Cherone in particular) have a wonderful way of laughing at themselves through them. It's almost like these are relentlessly tongue-in-cheek child fantasies told from a more mature and wiser perspective. Add to that the songs themselves are highly catchy, and also the playing of Nuno Bettencourt, one of the most truly gifted metal guitarists of the late 80's and early 90's, and you have a minor (overlooked) gem on your hands.
Neat some examples? How about the mightily complex Nuno riff and addictive groove to "Teacher's Pet", featuring a marching tongue-in-cheek chorus that just cracks me up every time, particularly the hilarious, classic line 'purely scientifically, studied her anatomy'? Or how about the simple, though wildly entertaining chant of "Mutha (Don't Wanna Go To School Today)", which, by the way, also features what is essentially Nuno's analog of the opening solo section from Van Halen's Fair Warning (and a well-worthy answer it is, too)? But if you really wanna hear some incredible guitar work from the guy, check out the positively off-the-wall closer "Play With Me" - here, Nuno answers the brilliantly sly way of combining innuendo with a slew of references to children's games and the high-speed delivery of them with one of the most jaw-dropping guitar solos of the entire decade contained within. No doubt about it - this one's the best song on the album, and easily one of the tour-de-force's of 80's metal guitar work.
They can also handle straightforward pop metal nuggets, too, as evidenced by the extremely catchy arena rock of "Wind Me Up", which has a confident tightness you'll rarely find anywhere else among contemporaries, and "Flesh 'N' Blood", despite a kinda generic title, demonstrates the nasty sleazy side of the material, even if the melody isn't among the most memorable on the album. "Smoke Signals", meanwhile, really puts the funk aspect of the sound upfront, with another vintage groove and a neat call-and-response section in the chorus ('when there's smoke... WHOOOO.... fire...'), and lead single "Kid Ego" is a nasty putdown those who think they're above everyone else, conveying this feeling more effectively than most songs I've ever heard, especially since it's so catchy and groovy. A couple of the others in this department are somewhat weaker (the opening "Little Girls" is probably the most forgettable and generic song here, and "Big Boys Don't Cry" really only has a mildly catchy chorus to show for it), but they're nothing awful or anything, just substandard for the album.
Oh, and there's also two ballads on here, though they're thankfully not in the "Every Rose Has Its' Thorn" or even "More Than Words" vein. Instead, they tend to wander more towards the subconsciously 'artsy' vein, with a real epic majesty. That sort of thing is perfectly reflected in "Rock A Bye Bye" - do not be fooled by its' extremely stupid title; this one, in all its' child-like glory, hints at the absolute majesty of the final suite from III Sides To Every Story, as that timelessly powerful and affecting solo section is just atmospheric! But even better is the Gary and Nuno vocal duet "Watching, Waiting", which is probably the second best tune here, if you ask me - both of their voices contrast beautifully, the melody is one of the most gorgeous on the album (particularly that chorus), and the lyrics offer a nice break from the rest of this stuff (the spiritual kind, dealing with the crucifixation of Christ). Great song, it is. And a fairly excellent album, too - Pornograffiti may get the most attention, but I think this one's somewhat more consistent (and unabashedly entertaining) in the songwriting department. And of course, "Play With Me" is essential for guitar freaks!
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COMMENTS
Don't have the album, but "Play with Me" can also be heard in the movie Bill and Ted's Excellent adventure, during the mall chase scene near the end. The first time I heard that song I was like "My god, that is the greatest guitar solo song ever made". And thats really what it is. The lyrics and chorus are sorta thrown in as an afterthought as the 'guitar God' Nuno shreds just about every guitarist in history with the mind blowing hammer ons and sweep picking. I may even pick this one up for that song, since I know for a fact that the Bill and Ted soundtrack blows. Oh yeah, I'd like to form a more objective opinion on the band since all I've heard from them is "Play with Me" and the crappy pop ballad "More than Words".
(reviewed by Nick Karn)
HIGH POINTS: Get The Funk Out, Suzi (Wants Her All Day What?), Song For Love, (It's) A Monster. LOW POINTS: Li'l Jack Horny, Decadence Dance.
And now we come to the album that made Extreme household names. Oops - I mean, the album with the hit singles that gave them that distinction. But of course, everyone knows about those two songs - what they might not know is Pornograffiti is actually a full-scale concept album about finding true love in a decadent and corrupt society, and this theme flows quite well throughout the whole album's length. Sure, there are the standard acoustic, lounge, lighter flickering, whatever ballads that express the fulfillment of this desire, and there's that other part of the concept, the one that shows just how umm.... nasty finding true love and fulfillment in life can be, what with those evil villains out there in the world like the guy on the cover sucking a lollipop (an image that pretty accurately reflects the content of this stuff). Oh, and for those guitar scholars, this might be an even better album than its' predecessor, with Nuno beginning to move away from the Van Halen textbook and into a style that more or less resembles his own.
This effort has all this intriguing stuff going for it, though, and yet I still consider it a bit weaker than the debut. But why? The answer is consistency. Sure, there are some absolute gems here, but there's a bit more filler than before, actually residing toward the beginning and middle of the album. For one thing, the opening "Decadence Dance" is one of those dull, overlong and straightforward arena plodders that, if not for the great guitar work, you'd swear it was by Poison or something like that, and the 'horn-filled' "Li'l Jack Horny" (ha, nice pun, guys) simply lacks a strong enough melody to ever really get going. Elsewhere, the 6-1/2 minute title track does have an effective nasty edge to it, and more fabulous guitar work, but I'm not gonna deny it goes on longer than it should, and although the Sinatra-ish ballad "When I First Kissed You" is certainly nice and brings a certain element of variety to the table, it simply refuses to make an impression on me.
But thankfully, for the most part, the remaining nine songs are largely successful. The three remaining ballads, though, are more of an exception than the rule. If you're looking for more pretty, Beatles-esque romantic sentiments like "More Than Words", uptempo coffeehouse sort of acoustic balladry in the closing "Hole Hearted", or huge power ballad-ish singalongs like "Song For Love" (whose great swaying chorus alone, not to mention the absolutely fabulous build up to it, makes for a fine highlight), you're probably going to be disappointed. But if you appreciate Extreme for the pure groove, nastiness, fabulous guitar work, and overall presence, there's really a lot to like here, and the cocky funk of "When I'm President" is just scratching the surface. Check out that fast, chugging guitar riff and fantastic attitude laden chorus of "(It)'s A Monster", both factors which pins you down to the edge of your seat. Or how about the dirty-themed "He-Man Woman Hater", a mean-edged song based on that album cover guy, and a hybrid of arena rock and classical music (Nuno's phenomenal take on "Flight Of The Bumblebee" as a solo intro).
The other 'rockers' on the album generally have even stronger, more powerful, hooks, and it's from this category where my two favorite songs here reside. The minor single "Get The Funk Out" really should have been a lot more than that, as this emphasizes everything awesome about this style. It simply has it all - an irresistible groove that's endlessly engaging (credit must be given to the rhythm section here), more fantastic guitar work (that goes without saying!), and finally, the most memorable hook on the album - an ultra-clever anti censorship chorus ('if you don't like what you see here / get the funk out'). Oh, and the second best song here has more brilliant guitar heroics, a similarly awesome kind of groove, an almost equally hummable pop melody, and another real gem of a singalong chorus ('Suzi wants her all-day sucker / Suzi wants her all day.... WHAT?!?') Hilarious!
So in all, this is one of those unfortunate albums that deserved the commercial success it got... but for mostly the wrong reasons. I mean, let's face it, "More Than Words" and "Hole Hearted", nice as they are, are more ordinary and conventional stuff by comparison, even if they actually tie into the fabric of the album rather nicely. The fact is, though, these two songs represent only one side of what is actually a much more conceptually sound record which owes just as much, if not more, to greed (there's also one more nasty, corruption-filled, straightforward hard rock song I didn't mention in "Money (In God We Trust)") and decadence than romance. I mean, the album's called Pornograffiti - do you really expect it to have all love songs? I guess six million others did. Heh - imagine their shock.
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"Hole Hearted" is a pretty kickass song, but I'll be damned if I ever buy an album with that irritatingly sappy "More than Words" on it. ;-)
All of the songs on this track lil jack horne is one of the best, the only one i cant listen to is "he man women hater
Pornograffitti is spelled with two "t's" by the way. AND, it's the best, if not the best album ever put out. It lacks in no aspects.
This band is second to only Queen.
(reviewed by Nick Karn)
HIGH POINTS: Am I Ever Gonna Change, Who Cares, Rest In Peace, Seven Sundays, Rise 'N' Shine, Color Me Blind. LOW POINTS: Cupid's Dead.
Most less talented bands in Extreme's position would have just taken "More Than Words" and milked that sort of style throughout the entire next effort, I guess this effort just goes to show how much smarter and ambitious this band is. True, this album as a whole might be a lot more on the mellower side than before in many ways, but the ambition is much greater than that. In fact, the band seems to be making an attempt to inherit the epic throne of Queen in terms of overblown pomposity, as III Sides To Every Story goes for expanding their overall sound and musical vision over the course of a 76 minute concept album. What's the concept this time? Well, it's basically divided into three song cycles that all offer perspectives on life in decidedly different moods, simply labeled 'Yours' (a more heavy, guitar-oriented set which focuses on Nuno's guitar work and lyrics with a heavy political slant), 'Mine' (a more personal, subdued song with a slightly more experimental tinge to it) and 'The Truth' (a really huge 3-part classical suite with backing orchestra).
The first part, predictably enough, will probably satisfy those into the 'heavier' side of the band, though only the opening "Warheads" really approaches intense, with its' menacing Metallica-esque riff and overall powerful aggression (with the 'war' theme conveyed fantastically through the clever lyrics and well-placed sound effects). The rest probably treads more toward 'extremely catchy heavy pop' with lyrics that I guess could theoretically seem preachy to those who have no place for politics in music, but I dunno, "Rest In Peace" really works for me. Maybe because there are so many things for me to love about this song - Nuno's incredibly complicated main riff and emotionally near devastatingly memorable, guitar solo, the pounding drum sound, the stunning musical dynamics (the string section and the way it switches to a 'playground' sort of acoustic atmosphere right at the end), and a totally brilliant singalong chorus that is almost impossible to get out of your head (''make love not war' sounds so absurd to me...').
And the remaining four songs in the suite are no slouch, either. Well, okay, "Cupid's Dead" is the only real letdown on the whole album - the groove is certainly nice, but everything else about the song is kinda awkward, from the weak, half-hearted chorus, the overlong and aimless solo section, and of course, the somewhat dumb (though not embarassing) rap bit. "Color Me Blind" is a great pop song though - both the verse and chorus melodies are equally infectious enough to make it almost impossible not to sing along to the otherwise kinda trite lyrics, there's more showstopping guitar work, which always makes for a solid listen. Elsewhere, speaking of guitar work, "Politicalamity" is a powerful example of the funk side the band so often possesses - what clever and fabulous use of wah-wah guitar, and "Peacemaker Die" seems to some up all the provocative subject matter and dynamic instrumental work in the space of 6 minutes, with hard-hitting tension, fine harmony and melody work, and even a sample of Martin Luther King's "I Have A Dream" speech near the end for dramatic effect.
The 'Mine' section, though, bears especially little resemblance to the heavier style of the first six tracks, and yet "Seven Sundays" manages to fit seamlessly into the picture to close out side one. Ooh, how to explain this one - it's basically a very Queen-esque slow number with one of the most gorgeous ballad melodies imaginable. And what pretty falsetto singing! Plus, the rhythm section's interplay with the piano line adds a huge amount of presence, and you can just feel the amount of longing emotion within that melody. Needless to say, it rules. And to open up side two is the most well-known single here (not that this is saying much) "Tragic Comic", a tune most often criticized for being a rewrite of "Hole-Hearted". Okay, so it's an uptempo acoustic groove, but a lot of songs are. Other than that, I just don't hear it - the melody couldn't be more different, and I really get a kick out of the lyrics (particularly the opening verse lines 'Flowers I sent, were found dead on their arrival / The words, I said, inserted foot in my mouthful'), addictive groove, and 'stuttering' catchy chorus.
To add to the tension "Tragic Comic" started with its' 'significant other troubles' subject matter, meanwhile, comes "Our Father", an enthralling account of one who feels hopelessly separated with a parent, and whose lyrical sentiment (the chorus 'our father / far farther away' is particularly telling) is supported by a very dramatic opening guitar line and tension-filled sweep. And "Stop The World", as you might have guessed from its' title, doesn't exactly bring an end to this uncertainty, despite its' gentle guitar line. Instead, it works as an effective declaration of one's disgust with the world, and musically, it's a nice prelude to what comes later, following "God Isn't Dead?", a short but very effective heartbreaking questioning of religious faith (the piano-based arrangement is nearly stripped down to the bare bones here). I for one appreciate the gorgeous melody and quote of "Eleanor Rigby" at the beginning.
Afterwards, though, we come to 'The Truth', that aforementioned 3-part classical suite, the 20 minutes plus pinnacle of Extreme's career as a whole, and certainly their most ambitious moment. I guess you could view the huge orchestra and bombastic arrangements as overly excessive, but I don't care. This suite really backs up its' pretentions with heavenly melodies and totally compelling arrangements. Just listen to "Rise 'N Shine" (which starts out with the innocent sounds of the music box) and tell me that the way the orchestration subtly adds textures to Nuno's gorgeous guitar line, wonderful pop melody and bleak lyrics, then subsequently exploding into this chorus that just aims for the heavens isn't one of the most breathtaking things out there. Or "Am I Ever Gonna Change?", which, as far as I'm concerned, is the peak of the entire experience. God, what an amazing epic guitar tone and incredible contrast between the uptempo verses and the huge confessional chorus, the sheer drama of the solo section in which features some dude speaking in Italian for a gripping effect. There's just something about the mood of this piece, some unexplainable atmosphere, that just blows me away every time.
And of course, there's the final piece "Who Cares?", another entry that I'm extremely fond of. This one's another brilliant exercise in contrast, from the huge orchestral buildup in the first 3 minutes that almost sounds like this big, bombastic Disney movie score (which is great!) to the sudden incredibly poignant one-note piano melody melting into this extremely somber, final-sounding chorus that almost makes me want to cry hearing it. There's another great, ultra memorable epic solo that merges perfectly with the orchestration, and oh, that ending is just a genial way of psychologically killing the listener. They basically repeat the themes from earlier in the suite in one big 'final' chorus, with the pompous orchestral arrangement, and then.... everything just stops, leaving the sound of the very music box that started out "Rise 'N Shine". Even just thinking about it, the last 15 minutes here still astonish me and much like Sgt. Pepper and "A Day In The Life", they make the album seem a little greater than it actually is. Oh, not that the album doesn't rule - it's one of the greatest achievements of the 90's, an effort so great no Extreme record comes even close to it. Simply put, it fulfills their potential and much more, even if it's not a record for everyone, especially those who can't handle pomposity or preachiness in lyrics. But hey, this can be had for really cheap, so at least take a chance on it. Please?
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(reviewed by Nick Karn)
HIGH POINTS: There Is No God, Leave Me Alone, No Respect. LOW POINTS: Tell Me Something I Don't Know, Naked, Shadow Boxing.
Put simply, Extreme was in a rather crappy position with the music scene the way it was during the mid 90's. Virtually every product of the 80's metal scene, no matter how excellent the albums they released could possibly be, was just going to be ignored by the general public anyway. And sadly, the album cover, featuring an image of a suicidal clown, very much shows that the writing was on the wall for this band as well. If I was going to make comparisons, this is almost Extreme's way of following up a hugely epic and ambitious effort with a more back to basics, underproduced, rock sound in the same sort of fashion as The Who did in following up Quadrophenia with By Numbers. But this type of approach has some serious drawbacks - in contrast to the previous album, it pulls almost no unexpected punches and displays very little epic song arrangements, or noticeable musical diversity. In a way, this album is very aptly titled as an unearthly disappointment compared to earlier work.
And indeed, there are several moments here where the band looks very mortal and conventional sounding, particularly on what are almost undoubtedly the two weakest individual songs of their career. If there's anything much noteworthy going on in the near-melodyless, 6 minutes plus bores of "Tell Me Something I Don't Know" and the confessional "Naked", I must have missed it. Where the heck did all the excitement, tongue in cheek humor, solid playing, or non plodding tempos go? Elsewhere, "Shadow Boxing" is just a ho-hum piece of filler that sounds like a tossoff track you almost have to force yourself to like, and even the lead single "Hip Today" has bothersome points - the live-in-the-studio feeling may be a bit difficult to get used to, as it's maybe a bit too straightforward, plus it's hard to overlook the somewhat obvious (though understandably pissed) simplistic chorus of 'hip today, you'll be gone tomorrow'.
However, as much as the ambition and creativity has toned down considerably here, there are highlights. Most of them aren't really up to par with the best of the earlier stuff, but the opening "There Is No God" certainly comes close. You overtly religious types might cringe a little bit, but this is where the band really uses the bare bones production to their advantage as they really capture the live feeling well in the rawness of the playing, the venomous vocal delivery of the lyrics and hard-hitting groovy chorus. Intriguing intro, too. And that's not all the cyncism here either - "Cynical Fuck" and "Leave Me Alone" are quite telling with their song titles alone, but each one has solid melody and musical ideas to support their bitterness. I really dig the aggressive riff and twisting, dramatic bottom-ended solo section of the former, and especially the cool features of the latter, like the extremely unique guitar riff that sounds almost like its' crawling out of the speakers and the uncomfortably distorted vocals in the chorus.
Elsewhere, there's another minor tour-de-force in the fantastic rhythm work (both Pat Badger and newcoming skinsman Mike Mangini are at a peak here) of "No Respect" that gels perfectly with the pissed off distorted chorus, and an impressively dynamic acoustic instrumental "Midnight Express", a Nuno piece that had long been a staple of live shows. And as for the other tracks, I guess they're alright - nothing special, but "Evilangelist" is another alright political rant with 'evil sounding' distorted vocals, and "Unconditionally" is another one of the usually pleasant Extreme ballads to close the album off with. I originally gave the album a 7, but there's a little too much in the way of insubstantial, unexciting fillerish stuff here for it to earn that, and the whole 'defeated' vibe kinda gets to me in places. Still, a not half bad swan song.
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COMMENTS
Shadowboxing is a an AWESOME song!!! Maybe you have to listen to it a couple times. I don't know, It's probably my favorite on the album besides the masterpiece of Midnight Express. I mean geeze, Nuno is play that on an acoustic!!! NO ONE could play that song but Nuno.
| Schizophonic | 1996 |
After Extreme went their separate ways, and before Gary Cherone landed an ill-fated spot as frontman of Van Halen, Nuno Bettencourt quietly released a solo album of material he had written on the site during his time with the band, a somewhat more pop-oriented affair called Schizophonic (reviewed here), and later formed a new band called Mourning Widows (which might be covered eventually, who knows).
--Nick Karn
released by Nuno
(reviewed by Nick Karn)
HIGH POINTS: Swollen Princess, Crave, Pursuit Of Happiness. LOW POINTS: Gravity, Severed.
Guitar virtuosos often follow one of two paths when releasing solo albums - they base their efforts almost exclusively on flashy instrumental wankfests, or they risk completely alienating their fans by going towards a more accessible, or possibly more inventive, direction. Nuno Bettencourt, smart and awfully talented guy that he is, admirably chooses the second route here. Without Gary Cherone's flamboyant theatrical persona to drive him to serious pretentions, Nuno seems to be content to concentrate on the relaxing pop aspect much more easily than before, which is just fine by me. I have no doubt he had a huge hand in earlier material as co-songwriter of the group, and since he's also a big part of their fantastic harmonies, it's also not really a surprise that his vocals are quite pleasant to listen to. Sure, it may be a little disappointing that guitar flash is almost non-existent (solos, when they are played, are very subdued), but the guy's a talented songwriter, and the top-notch hooks in some of this stuff is undeniable.
For instance, I flat out cannot deny the heavenly pop craftsmanship of "Swollen Princess", my favorite track here - the verses are quite groovy and catchy, with some really colorful imagery and such, but it's the chorus that really aims for the heavens of your soul that just completely knocks me out, not to mention the lyrics (dealing with the birth of his daughter) are sung with the kind of passion and sheer joy that could only come from someone in that position. There's also the fantastically energetic filled "Crave", where he manages to get out a surprising conviction filled delivery of the extremely catchy chorus melody, plus gorgeous stripped down acoustic balladry in "Pursuit Of Happiness" (which has a particularly striking chorus) and "Fine By Me", a wonderfully relaxing loungey duet with Gary Cherone in "You" (alright, so the album's not completely free of him!), and another really peaceful little tune in "What You Want", whose chorus really brings to mind the image of people gracefully ice skating, just the way the melody and acoustic guitar interplay with each other.
But of course, there are a few deviations from the 'poppy' formula. The terrifying aggression of "Two Weeks In Diskneelande" is easily as intense and frightening as anything Extreme ever wrote, with a screaming 'HELP ME!' chorus and a convincing punk/grunge atmosphere to it, and he even experiments with neat electronic, quite mystical sort of textures in "Fallen Angels" as well as lyrically taking on the issue of just how terrifying the finality of life can be by thinking of the well-being of one's parents (and adding a chorus of 'what if there is no heaven...') in "I Wonder". "Karmalaa" even has a neat angsty vibe with some hilarious lyrics ('You're such a brilliant acrobat / and when we finish having sex / you burn me with your cigarette / I think I like you'). Hmm. If there's any real fault to the album, it's probably that it's a little too long (15 tracks at around 57 minutes), and that there are a few fillers - the straightforward lyrical commentary of "Confrontation" is a bit cringe worthy, the bookend tracks ("Gravity" and "Severed") don't accomplish anything memorable during their running time, and the remaining three tracks mostly sound nice while they're on, but aren't really anything particularly special. Regardless, there are several nice gems here - don't listen to the AMG's claim that this is a grandstanding guitar solo album. It's about the furthest thing from that!
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