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Alice in Chains: Facelift

 A l b u m   D e t a i l s


Label: CBS Records
Released: 1990
Time:
 54:30
Category: Hard Rock
Producer(s): Dave Jerden
Rating: **........ (2/10)
Media type: CD
Web address: www.aliceinchains.com
Appears with:
Purchase date: 2010.03.10
Price in €: 2,00





 S o n g s ,   T r a c k s


[1] We Die Young (Cantrell) - 2:32
[2] Man in the Box (Cantrell, Staley) - 4:46
[3] Sea of Sorrow (Cantrell) - 5:49
[4] Bleed the Freak (Cantrell) - 4:01
[5] I Can't Remember (Cantrell/Staley) - 3:42
[6] Love, Hate, Love (Cantrell/Staley) - 6:27
[7] It Ain't Like That (Cantrell/Kinney/Starr/Starr) - 4:37
[8] Sunshine (Cantrell) - 4:44
[9] Put You Down (Cantrell) - 3:16
[10] Confusion (Cantrell/Staley/Starr/Starr) - 5:44
[11] I Know Somethin [Bout You] (Cantrell) - 4:21
[12] Real Thing (Cantrell/Staley) - 4:03

 A r t i s t s ,   P e r s o n n e l


Layne Staley - Vocals
Jerry Cantrell - Guitar, Background Vocals
Michael Starr - Bass, Background Vocals
Sean Kinney - Percussion, Drums, Background Vocals

Mike Starr - Bass, Background Vocals
Kevin Shuss - Background Vocals

Dave Jerden - Producer, Engineer
Ronnie S. Champagne - Engineer
Eddy Schreyer - Mastering
David Coleman - Art Direction
David Daoud Coleman - Art Direction, Logo Design
Rocky Schenck - Photographer

 C o m m e n t s ,   N o t e s


1990 CD Columbia CK-46075
1990 CS Columbia CT-46075
1990 CD Columbia 467201

Recording information: Capitol Recording Studios, Hollywood, CA; London Bridge Studios, Seattle, WA.

Long before the phrase, "Seattle scene" spoke of an impact that a new generation of musicians was having on rock music,Alice in Chains was struggling to be recognised in the shadow of bands that were more focused on image than craft. On FACELIFT, the band's major label debut, Alice in Chains proved that its fusion of blues, hard rock, and gritty imagery was a force to be reckoned with. While college radio stations ate up fare like "It Ain't Like That" and "We Die Young", the song "Man in a Box" became a banner track that pushed the band into the forefront of heavy rotation on MTV and the playlists of mainstream rock radio stations. Vocalist Layne Staley's moody, dynamic vocals on "Love, Hate, Love" tell a chilling tale of a homicidal psychotic lamenting and musing over what he's done to his lover. On tracks such as "Sea of Sorrow" and "I Can't Remember", guitarist Jerry Cantrell shows equally impressive skill in Sabbath-styled riffing, blueslicks, and Hendrix-influenced solos. Alice in Chains made abrash musical and lyrical statement that gave the stale eraof thrash and hair metal a much-needed facelift.



When Alice in Chains' debut album, Facelift, was released in 1990, about a year before Nirvana's Nevermind, the thriving Seattle scene barely registered on the national musical radar outside of underground circles (although Soundgarden's major-label debut, Louder Than Love, was also released that year and brought them a Grammy nomination). That started to change when MTV jumped all over the video for "Man in the Box," giving the group a crucial boost and helping to pave the way for grunge's popular explosion toward the end of 1991. Although their dominant influences -- Black Sabbath, the Stooges -- were hardly unique on the Seattle scene, Alice in Chains were arguably the most metallic of grunge bands, which gave them a definite appeal outside the underground; all the same, the group's sinister, brooding, suffocating sound resembled little else gaining wide exposure on the 1990 hard rock scene. Neither hedonistic nor especially technically accomplished, Alice in Chains' songs were mostly slow, oppressive dirges with a sense of melody that was undeniable, yet which crept along over the murky sludge of the band's instrumental attack in a way that hardly fit accepted notions of what made hard rock catchy and accessible. Although some parts of Facelift sink into turgid, ponderous bombast (particularly over the erratic second half), and the lyrics are sometimes immature, the overall effect is fresh, exciting, and powerful. While Alice in Chains would go on to do better and more consistent work, Facelift was one of the most important records in establishing an audience for grunge and alternative rock among hard rock and heavy metal listeners, and with its platinum sales certification, it also made Alice in Chains the first Seattle band to break through to a wider, less exclusively underground audience.

Steve Huey - All Music Guide



Huch, was sind wir heute schlecht gelaunt: Nachdem Alice In Chains auf der EP "Jar Of Flies" erstaunlich zahm durch das Rock-Wunderland spaziert waren, rasseln sie nun wieder gewaltig mit den Ketten. Da werden Gitarrenriffs geschreddert, und auf den Schlagzeug-Grooves scheint aller Frust dieser Welt zu lasten. Sänger Layne Staley war nie ein sonniges Gemüt, aber nun grenzt sein gallenbitterer Tonfall an musikalischen Nihilismus. Noch kann die Band mit ihrem Sound Punkte sammeln, aber wie wär's mit etwas Selbstironie?

© Audio



What Nashville is to country music, what the South Bronx was to rap, Seattle is to loud rock. There are so many records with such a similar feel, that after a while it all becomes indistinct-one great big coiff of hair, one Aerosmith cop after another. With the distinction between metal and punk already having been decimated, in great part by our friends at Sub Pop, it's only natural that a crossover in the other direction took place, i.e. major label "metal" band fitting in well with the "Loser" T-shirt crowd. So here's Alice In Chains; they're from Seattle, and yeah, they sound it, but in many ways their debut is more far-reaching and fully realized than most of their brethren before them. They play all sides of the fence equally well-ballads ("Bleed The Freak," "Can't Remember") and monstrous thumpers ("Man In The Dark," "It Ain't Like That" and the A-OK single ("We Die Young")-without sucking or sucking up. Not an easy feat for any band, and certainly not for a band with the combined pressure of a debut album, a demanding home town and a big-bucks record company. Facelift is a substantial debut with enough riffs for everyone in the family.

CMJ.com
 

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