IN A METAL MOOD: NO MORE MR. NICE GUY
- Is Discontinued By Manufacturer : いいえ
- 製品サイズ : 14.1 x 12.5 x 1.19 cm; 85.9 g
- メーカー : THE GOLD LABEL
- EAN : 0076744002525
- 製造元リファレンス : CDHIP40025
- オリジナル盤発売日 : 1997
- レーベル : THE GOLD LABEL
- ASIN : B000005KOE
- ディスク枚数 : 1
- Amazon 売れ筋ランキング: - 326,865位ミュージック (の売れ筋ランキングを見るミュージック)
Monty Python have got nothing on Pat Boone. You want absurd, this is the pinnacle. No comedy writer in his/her dreams could have dreamt up anything even half as stupid. The mere idea of Pat Boone, Mr. Squeaky Clean himself, (ahem) crooning heavy metal tunes is bad enough, but it gets so much worse. Big name arrangers were brought in to take crunchy power chords and squealing guitar solos and turn them into jazzy riffs and big band horn blasts. Even a few of the artists whose material is covered make guest appearances. Guitarist Ritchie Blackmore plugs in on "Smoke on the Water," while vocalist Ronnie James Dio gives a shout out on his band's "Holy Diver." This musical "idiodyssey" actually works a few times. I'm not immune to the kitsch value that the swingin' versions of AC/DC's "It's a Long Way to the Top (If You Wanna Rock 'n' Roll)," Hendrix's "The Wind Cries Mary," or Ozzy Osbourne's "Crazy Train" provide. These songs almost sound like they were written for this kind of overblown, slick swing. Very scary. As for the rest, well, let's just say that aside from the fact that they don't really work too well in this format, Boone just ends up sort of speaking the lyrics and sounding completely goofy. If that's not comedy enough for you, surely the extensive liner notes explaining (rationalizing?) why Boone felt the need to make this record are the topper. I liked this guy a lot better when he was pals with the Parents' Music Resource Center. Can't wait for In a Grunge Mood--sometime in the 21st century. --Adem Tepedelen
Taking a set of well known heavy rock hits and reworking them in his own style, this is a set of classic tunes that anyone will recognise, but with an interesting and original twist. The style is largely lounge jazz with louche arrangements. Boone's vocals are similarly Tony Bennett in style, but with a raw edge and an impassioned feel where necessary. It's a great combination.
As with Hayseed Dixie's bluegrass takes on classic Rock, I am always surprised at how malleable these tunes are. The songs were written so well that they really stand up to being rearranged and restyled. Boone has made some good selections and a genuinely interesting and worthwhile album has resulted. It also has a strong sense of fun, which really helps!
Listen out for contributions from Ozzie Osbourne and Ritchie Blackmore.
Actually, it turned out to be a really good album that I have listened to quite a bit over the years. Basically, Pat Boone's voice was pretty so-so by this time, but the big band arrangements are great. At risk of being ridiculed, I like the arrangements and thus the recordings of several of these songs better than the original ROCK versions.
Not a White-Buck-"Conservative" moralizing, nor mock metal, nor "Love Letters in the Sand" do-doo-de-doo, but a well organized vocal jazz project. The jazz band here is EXCELLENT, and a lot of folks went into the making of this project. See the liner notes, which also feature Pat's own views of the recording sessions, and the choices of songs themselves. Myself, I don't think it is hippy-drippy or crappy-sappy, as others have suggested. Rather, it's a quite entertaining and offbeat listen. I was maybe expecting something like Tiny Tim's Disco version of "Coming to Take Me Away, Ha-Ha" (no joke, found that on You Tube), but the arrangements here are Straight, Without Being Narrow. Ballads and blasters alike, it's a listen for diversity among everything else when looking for a change, but more than adequate in its own right.
One song, "Love Hurts" actually sounds more like Dot-Records-Era Pat, because mainly because it's a similar-time hit by the Everly Brothers, but is included here because everyone now associates it with Nazareth.