Muziek - Over The Edge

Over The Edge

€ 17,99

Over the Edge is a superb ten-song collection of close to 46 minutes of album rock from the latter end of the 1980s, AOR metal with hooks and clever twists that bring it a cut above the expected fare the plethora of hair bands gave the audience in that era. With the same irreverent fun that made Ratt's ''Round & Round'' so listenable, the songs here venture from the three- to five-minute range, whipped into shape with superb riffing behind a heavy chorus and Kelly Hansen's very on-target vocals. When you listen to Hansen sing the hits of Foreigner 18 years later on the Alive & Rockin' DVD it is like tuning in to a Doors' clone band when the real thing is preferable -- and in Foreigner's case, potentially available. The problem with Hansen's version of Foreigner is that the new lineup would be better off re-exploring some of the songs the new players were affiliated with, most notably the material on this exemplary disc. ''Messin' with a Hurricane'' is inspired rock & roll, rising above the metal trappings with solid beats and some guitar majesty from Robert Sarzo, yes, the brother of Quiet Riot's Rudy Sarzo, just as bassist Tony Cavazo is the brother of Quiet Riot's Carlos Cavazo. Hurricane is Quiet Riot without the sneer; no-nonsense metal produced by Mike Clink a year after he helped put together Appetite for Destruction, and for those who like that Guns N' Roses classic, this album has much to offer. ''Messin' with a Hurricane,'' a theme song for sure, is more than slightly reminiscent of GN'R, and coming four years after Scorpions' Top Ten hit, ''Rock You Like a Hurricane,'' it probably found some inspiration in that popular metal gem. Check out how phonetically similar the endings to both ''hurricane'' songs are. ''Love It to Death'' has longtime Alice Cooper producer Bob Ezrin listed as executive producer, and ''Insane'' not only has an opening ripped right out of ''Billion Dollar Babies,'' but the title is the centerpiece word from Cooper's ''Ballad of Dwight Frye.'' Don't think it isn't intentional: the slowed-up version of ''I'm 18'' is perfect for the Nights with Alice Cooper radio show, and a commendable slow reinvention of Cooper's breakthrough song. ''Give Me an Inch'' performs a bit of alchemy and turns Raspberries riffs into metal, but it is that attention to pop, the commercial guitar work, and dynamite vocals which make this album a truly undiscovered minor masterpiece. The flaws are minimal, found only in some of the lyrics and the final track, ''Baby Snakes,'' which is completely ruined by a tacky telephone conversation and is the anomaly on an otherwise super outing. Each of the other songs contain strengths which make the entire offering something special and accessible beyond its time period. ~ Joe Viglione

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