ALBUM REVIEW: The Atlantic Years – Ratt
If we were to ask you who were the pioneers of glam metal, where would RATT feature on the list? Would they even chart? With Round And Round being the only track to pop up on glam metal playlists among the likes of KISS, POISON, and CINDERELLA, RATT have been wrongly branded as a one hit wonder throughout the years. In association with Rhino Entertainment, BMG brings us The Atlantic Years of RATT.
The boxset contains the five albums the Los Angeles upstarts released through Atlantic Records throughout the 80s. We know what you’re saying, yes, RATT released more than one album and they were all marginally successful. With each entry gaining Gold, Platinum, or multi-Platinum status, The Atlantic Years were a prosperous time for RATT, and ultimately document the group’s slip as the grunge era came for some of our most beloved bands.
Before acid wash jeans and unkempt hair were the fashion, spandex and Aquanet hairspray ruled the roost with Round And Round dominating the radio waves. The track’s parent album Out Of The Cellar released in 1984 to critical acclaim. But what of the material’s prevalence now? We’ll park Round And Round as many will know it’s still a certified banger. Wanted Man has the wonderfully rounded tones found within KISS’ discography before ego became the band’s driving force, with Stephen Pearcy’s gritty voice exuding all the charm of sleaze rock which still hits the spot today. Juan Croucier (bass) absolutely decimates You’re In Trouble with the characteristic bouncy basslines which fuel some of the band’s biggest hits. She Wants Money and I’m Insane still show the failings of glam metal with cheesy lyrics and less than perfect instrumentals however.
Jumping a year ahead with Invasion Of Your Privacy (1985) may prove to be new territory for the majority. You’re In Love’s crisp production and sharp riffs showcase a levelling up for the band. Pearcy attacks the track with vigour which brings a re-energised RATT to the table. It’s a shame then they weren’t seen as more of a force. Though when you’re in the same bracket as the likes of KISS and MÖTLEY CRÜE to name a few, many will fall by the wayside. That aside, Give It All comes across as a slower Round And Round in terms of vocal pattern. Perhaps they were trying to emulate the single’s success at Atlantic’s behest, though they needn’t have bothered.
1986’s Dancing Undercover could only be about one thing. Excess and putting the x in sex. The wheels fall off slightly for RATT here as they fail to keep up with the big boys in terms of production value – the album sounds slightly muffled throughout. That said, the tandem of axe wielders Warren DeMartini and Robbin Crosby remains criminally underrated to this day, shredding their way through the at times vapid material of what we get up to between the sheets. 7th Avenue’s slithering groove sticks to the hips to this day as we take the hairdryer to the mane and mime into the hairbrush just hoping we have some of the attitude Pearcy embodies.
Which brings us to 1988’s Reach For The Sky. At this point, MÖTLEY CRÜE had fully gone off the rails leaving a hefty space to fill. Were RATT serious contenders to follow up the bad boys of rock? Perhaps not but that didn’t stop them from shooting their shot with the bombastic Don’t Bite The Hand That Feeds. While we sense some fry to Pearcy’s vocals, we can’t deny he still has some of Out Of The Cellar’s charm in there. What we also sense is RATT running out of steam and ideas. There are only so many ways we can admit we want to have a quick fumble with someone up against a skip outside the local Wetherspoons after all. While it may have gone over well with critics and the die-hard fans, the casual listener would find Reach For The Sky a little too far down the drain for them.
The end would come with 1990’s Detonator. The turn of the tide and the death of glam metal. While it would be another year until the release of NIRVANA’s Nevermind (1991) – the album which was credited as the final nail in glam’s coffin – there was an uprising against the androgynous period and society at large. RATT’s Atlantic Records swan song had the band collaborating with esteemed songwriter Desmond Child and bringing in the likes of Jon Bon Jovi to guest feature. RATT went down in a blaze of glory (pardon the pun) with well-rounded tracks such as Shame Shame Shame slicing through the perfect coif and cutting to the bone. Those looking for the aforementioned guest should jump to the “sleazy operator” Heads I Win Tails You Lose. While Mr BON JOVI isn’t prevalent in the mix, those backing vocals need close attention.
RATT would fall into turmoil while promoting Detonator. In 1991, Crosby’s substance abuse would render him increasingly inconsistent on stage. Intoxication-bred tuning issues would mean the band’s show in Osaka, Japan would be the guitarist’s last show with RATT. With Crosby checking into rehab upon return to the States, RATT would continue with Michael Schenker (SCORPIONS, UFO). Crosby would pass in 2001 from a heroin overdose after disclosing he was HIV-positive and RATT would continue to implode.
Is this box-set a crucial purchase? Unless you’re a die-hard fan, no. Much like the material at the time, there simply isn’t enough there to keep the casual listener engaged. For those wanting to dive into the discography, we would recommend starting with Out Of The Cellar and perhaps stopping with Dancing Undercover. It’s a shame RATT weren’t a bigger band than they were but perhaps this is a positive as this band goes to show an album doesn’t have to be chart-topping to be successful.
Rating: 6/10
The Atlantic Years is out now via BMG.
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