Left Turn Ahead: Gaslight Anthem's 'Get Hurt' Reinvention Continues A Rock Tradition
Monday, 17 November 2014
Written by Simon Ramsay
It takes a brave rock band to change their sound, especially when it's endeared them to legions of fans around the world. While some acts elicit a flair for sonic reinvention, others have fallen flat on their faces and swiftly retreated to familiar territory.
As New Jersey rockers the Gaslight Anthem are currently touring the UK with their divisive new album 'Get Hurt', it's time to look at other artists who, for better or worse, have boldly tried something new.
Led Zeppelin - ‘III’ (1970)
Although launched with the Nordic proto-metal invasion of Immigrant Song and featuring chicken wire slide work on Celebration Day and soul piercing soloing on Since I've Been Loving You, Zeppelin's third effort surprised everyone as they mostly dialled down the wattage with a beautifully textured collection of acoustic cuts.
The jaunty funk of Friends, replete with menacing strings stalking underneath, Tangerine's sad sweetness and the bounding bass gallop of Gallows Pole all boasted the kind of inventive tunings and intricate arrangements that have since become synonymous with the band.
After two albums of pioneering, incendiary blues-based rock ‘n’ roll, it's understandable that critics initially dismissed this record. But the years have embarrassed them, as this was a massive moment in the development of a group who continued to venture into brave and exciting new territory for the rest of their career.
Manic Street Preachers - Lifeblood (2005)
Throwing curve balls has always been part of the Manics’ manifesto, but this anaemic effort is a mixed affair. Described by Nicky Wire as an 'elegiac pop' album, the glacially sad 1985, serene I Live To Fall Asleep, gorgeously melodic Glasnost and dramatic sheen of To Repel Ghosts all triumph. But too many songs are undernourished, cold, detached and indifferent, as keyboards and synths push James Dean Bradfield's guitar into a supporting role.
After hearing The Love Of Richard Nixon, this album’s lead single, on the radio, they re-evaluated what they were doing and have been on a streak ever since, releasing one superb record after the next. “I can remember being in James’ flat in Cardiff, hearing Jo Wylie play it on Radio 1,” Nicky Wire told Uncut. “And I knew as soon I heard it…what the fuck have we done?”
Tom McRae - King Of Cards (2007)
A perennially undiscovered British gem, Tom McRae had made three beautifully miserable singer-songwriter masterpieces when, tired by his lack of recognition, he attempted to make an uplifting album. Apart from the spine-tingling Got A Suitcase Got Regrets, this collection of songs sounds more hollow than Justin Bieber's cranium.
Set The Story Straight, Bright Lights and Houdini and The Girl highlight how aiming for commercial recognition can bludgeon their sense of expression. In the end, success still wasn't forthcoming, so he returned to his superbly depressing concoction of bleak poetry and inventive sonic textures. Fuck the mainstream.
Queen - ‘Hot Space’ (1982)
Queen's chameleonic shifts were a massive part of their appeal, but this stinker was enough to turn their most ardent fan into an infuriated Harry Enfield character: “Oi! Queen! No! I admire your proclivity for reinvention and experimentation, but that doesn't give you the right to traumatise my ears with synths, drum machines and a horrendous mix of cod-funk, R&B and bleedin' disco!”
Made at a time when the band weren't getting along, this was Freddie Mercury's baby, although he later dismissed it, while Roger Taylor and a marginalised Brian May were also critical of the new sound. Only the David Bowie duet Under Pressure cut the mustard among a tepid bunch, including the execrable Body Language. Fortunately, their next album was 1984’s 'The Works', where I want To Break Free, Radio Ga Ga and Hammer To fall saw normal service resumed.
Neil Young - 'Trans' (1982)
Young loves embracing new musical trends, and even his failures are testament to the indefatigable spirit that has fuelled his career choices. And ‘Trans’ is a glorious failure that delivers a futuristic collection of batshit, bewildering electronica inspired by Kraftwerk and his efforts to communicate with his son, Ben, who was born with cerebral palsy.
The aptly-titled Computer Age features nice guitar work and sci-fisynths until it becomes an ambient soundtrack for robot pornography, while the use of a Vocoder on six tracks makes his voice sound more soulless than Britney Spears’ auto-tuned croak. If you can believe it.
Overall, the songs are weak and unfocused, like an undisciplined Daft Punk jamming. His fans didn't get it and neither did his record company, Geffen, who – following his next album’s rockabilly sound – sued him for turning in albums that were “unrepresentative” of his past work. It wasn't until 1989’s excellent 'Freedom' that he regained the plot.
Metallica - St. Anger (2003)
Metallica have gradually evolved over time, morphing from speed metal upstarts to thrash titans, from progressive metal behemoths into stadium-straddling superstars. Yet, those changes always felt like perspicacious progressions, as opposed to revolutionary missteps. And then they released 'St. Anger'.
Made following James Hetfield's stint in rehab, and with band relationships fragile, this is a relentlessly aggressive album that somehow manages to be deathly dull. Bob Rock had seemingly forgotten how to produce them as Lars Ulrich’s drum sound horrifies, while its unmemorable songs feature countless plodding dinosaur riffs and mind-numbing lyrics. Worst of all, the lack of a single guitar solo makes it as one dimensional and lumpen as the worst nu-metal of the time. 'Death Magnetic' put them back on track, but apart from its first two tracks, this remains a travesty.
DefLeppard - ‘Slang’ (1996)
Of all the 1980s arena-rock acts who went darker during grunge's heyday, the boys from Sheffield did it best. 'Slang' is criminally underrated and remains their most interesting effort, as shown on bruisers like Truth? and Pearl Of Euphoria, which take the aggression of their early NWOBHM period and moody ambience of Gods Of War, and add convincing contemporary touches.
Elsewhere, the brooding, earthy hue to Work It Out suits Joe Elliot's rasp nicely, while inventive eastern touches colour Turn To Dust and ballads Breathe A Sigh and Blood Runs Cold feel intimate and sincere. Unfortunately, it wasn't embraced by the majority of their fans, and 1999’s 'Euphoria' found them back in familiar melodic rock waters.
Gary Moore - ‘Still Got The Blues’ (1990)
The former Thin Lizzy guitarist pulled off a stunning reinvention with this effort by returning to his first love, the blues. This isn't back porch blues, this is electrifying blues-rock that delivers an onslaught of thrilling guitar work allied to supremely crafted, passionate songs.
Guest appearances from Albert Collins and Albert King added credibility to his bluesman status as he supercharged old favourites Oh Pretty Woman and Walking By Myself, as well as seamlessly blending in original stunners like the authentic ZZ Top bark of Texas Strut, the heart-wrenching title track and hypnotic slow burn of Midnight Blues. The record was a commercial success and cemented a love affair with the blues that lasted until his death in 2010.
Mötley Crüe - Mötley Crüe (1994)
The ‘90s were Kryptonite to bands who'd snorted their way through the previous decade. It was time to adapt or die. With singer Vince Neil out of the picture, John Corabi – formerly of the Scream – fronted a darker-sounding incarnation of Mötley Crüe, with Pantera style drop-tuned riffage, Led Zeppelin-meets-Beatles epics and woozy Alice In Chains guitars all highlighting a mature, tougher sound.
Although Corabi is superb, sneering his way through the most musically complex and varied collection of the group's career, Mötley Crüe's old fans didn't approve. The record flopped and Neil returned for ‘97’s disappointing 'Generation Swine'.
The Gaslight Anthem Upcoming Tour Dates are as follows:
Mon November 17 2014 - MANCHESTER O2 Apollo
Tue November 18 2014 - MANCHESTER O2 Apollo
Wed November 19 2014 - LONDON Alexandra Palace
Fri November 21 2014 - EDINBURGH Edinburgh Corn Exchange
Sat November 22 2014 - CARDIFF Motorpoint Arena Cardiff
Sun November 23 2014 - BIRMINGHAM O2 Academy Birmingham
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