lambchops's Full Review: Extreme II: Pornograffitti by Extreme
Immediately prior to the popularization of the Seattle grunge sound, I was still a fan of hair metal. Bands like Bon Jovi, Cinderella, Skid Row, White Lion, and Slaughter got immense amounts of play on my little Sanyo boombox. But one day I heard something slightly different on the radio…something that seemed a little less self-obsessed and a little more rock and roll. And that something was Extreme.
In retrospect, I’m not sure what drew me in. It probably had something to do with the relatively impressive musical skills from the guys in the band. Of course, the fact that uber-talented guitarist Nuno Bettencourt is in one word HOT had nothing to do with my enjoying the songs. Anyway, back to the topic at hand…
The first single I heard from the east coast rockers was Hole Hearted from album Pornograffitti. Gary Cherone’s vocals spoke to me…I knew that I was on the verge of discovering a band that would go down in history as great. Of course the humor in that is that some thirteen years later few people remember Extreme outside of the passing references made to the band during Cherone’s brief stint with Van Halen. But hidden beneath subsequent layers of grunge, alternative, and pop there is a small corner of my soul that still loves Extreme.
Pornograffitti was the first album I owned with a Parental Advisory sticker. I felt like such a rebel, even going so far as to unsuccessfully try to remove it with my bitten nails. Soon though that album would be joined by RHCP classic Blood Sugar Sex Magik and all was well. Pornograffitti of course spawned the aforementioned early hit Hole Hearted, but it was the ballad More Than Words that really sent swooning girls to the shelves to pick up the album. But when they popped the cassette or CD or whatever into their boombox it was certainly a disappointment to many to be thwacked across the ears with songs like Decadence Dance. I however took the experience in stride and enjoyed pretty much every moment of my acquisition.
Extreme formed in 1985, the band soon developed a style that set them apart from the average fare of schlock rock bands. They mixed elements from heavy metal with the more theatrical and melodic elements of acts like Queen, Van Halen, and Cheap Trick. But Extreme never really was able to carve an appropriate niche in the world of music. Sure their songs were good, but where did they fit? They didn’t use enough hairspray of makeup in the hair metal era nor were they unhappy enough during grunge. Extreme never did fit anywhere…not in 1989 or in 1993.
The band’s self-titled debut album did little if anything on 1989. Just one song, Kid Ego hit the airwaves in any manner. The four members were still uncomfortable in their own skin. It was on 1990’s A&M release Pornograffitti that Extreme came into their collective own. It is easy to discount the band as a one or two-hit wonder. But even a casual listen to this outing will wash away those preconceptions. In the scheme of things, the album is by no means brilliant but it does pack a mean and at times memorable punch.
Pornograffitti is thirteen songs long and features the aforementioned Bettencourt on guitar, Cherone on vocals, Paul Geary on drums, and Pat Badger on bass. The album experiments on many levels. Everybody alive in the early 1990’s should be reasonably well versed in the ballad slightly funky hit ballad More Than Words. Heck, anybody lucid in the early 1990’s should also know Hole Hearted. But in all honesty even as much as I enjoy those two tracks the most appealing songs today aren’t those that became famous but those that cannot be without the acquisition of Pornograffitti.
Decadence Dance kicks things off strongly with a deceptively light piano, strings, and even rain falling. But once Extreme breaks it down, the track clearly is all ballsy rock n’ roll. And it is this characteristic that best represents the often misunderstood band…all out fun and fantastic rock. And really adding to the entertainment value of the song is that the band refuses to sacrifice melodic integrity for volume. Cherone has a smooth, inviting tonality to his voice.
Much in the same vein is Little Jack Horney, a track that at age thirteen or fourteen I felt was incredibly nasty. Well, I’ve matured but the song on the other hand sounds pretty much the same. Cherone yelps as much as his sexy voice will allow while the song itself is creatively free. Few hard rock bands can so easily blend saxophones with ripping guitars and thick drums.
When I’m President comes as a bit of a shock to the system. Clearly, Extreme got wind of Faith No More and used them as a muse. Cherone raps his way through much of the song while he waxes on about his plans for the world upon his election as US President. While a fun track at the heart, it is also fitting today with references to both the Middle East and world peace.
Unquestionably the single best song of Pornograffitti and possibly Extreme’s best ever, Get the Funk Out quite simply rocks. Bettencourt’s guitars are loud, crazed, and nasty while Cherone really has never sounded better. But the real appeal of the track is once again in the use of horns. Often critics forget that Extreme managed to blend styles without coming off as pretentious or ridiculous. This is rock music as it is meant to be done. Even if occasionally the band sounds a bit dated (guitar solos most notably), the work remains wholly entertaining.
A few tracks are less than interesting toward the middle. Money(In God We Trust) is a fine track, but the band put together very similar songs elsewhere on this album. Something about the tempo seems out of place as are Cherone’s misplaced hallelujahs. It(’s A Monster) is a definite improvement on the song it follows. Once again it’s a hard rock track that features a thick although completely appealing arrangement. While many songs on Pornograffitti have similar elements and a few are without apparent purpose one good thing that can be said is that if nothing else the album is FUN.
Pornograffitti isn’t particularly worth mentioning. Neither is the piano-driven lounge song When I First Kissed You aside from the fact that it proves Cherone has some amazing chops as does Bettencourt. He’s apparently also a pretty accomplished pianist. Suzie (Wants Her All Day What?) returns to the proven rock formula. Heavy guitars, horns, and a deep bass line make for a pleasant experience but the track does little to improve upon ideas that have already been laid out in earlier tracks.
Wrapping the album up are two tracks before the popular closer Hole Hearted. While He Man Woman Hater takes much too long to get to any point and is the end probably the worst of the album, Song for Love could have easily been another hit for Extreme. Though, the heart-heavy ballad formula was exploited too often in 1990. But with that that said this is an uplifting, beautiful, and truly memorable track. In some ways I like it more than the since overplayed More Than Words.
Pornograffitti is a near-excellent album. Aside from a few slips into trite metal and a few sound-alike tracks it is most definitely worth buying. Especially appealing for music fans of the era, this Extreme release should come as a big shock. Cherone, Bettencourt, and company had talent. They could have been and a few years sooner would have been incredibly popular. But sh*t happens and promising bands go away…in fact Extreme lasted through just 1995 and two more nearly forgotten albums. Pornograffitti on the other hand comes recommended.
Rating: 4/5 stars
Track Listing:
01. Decadence Dance
02. Li'l Jack Horny
03. When I'm President
04. Get the Funk Out
05. More Than Words
06. Money(In God We Trust)
07. It('s a Monster)
08. Pornograffitti
09. When I First Kissed You
10. Suzie (Wants Her All Day What?)
11. He Man Woman Hater
12. Song for Love
13. Hole Hearted
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