Sleevage is a site that looks into the artwork and design of classic album covers. As someone who spent ages poring over my Metal album covers as a kid, it’s nice to get some insight into the largely uncredited artists who create the iconic images that accompany our favourite music.

For instance, in a post about Lenny Kravitz’s Baptism cover, the designer, Len Peltier, actually took the time to drop some comments about the creative process (and to correct the author on a typographical faux pas).

Also worth a look is the write-up on Meat Loaf’s Bat Out Of Hell album covers. It shows you the progression of the monster bat/motorcycle theme that carries through all the albums. Would have been worth referencing some of Jim Steinman’s album covers, because I think he’s used the same cover art concepts in his own work.

The site is missing one very important thing however – it currently has absolutely no Iron Maiden covers. You can’t write about cover art without covering the history of Iron Maiden and their grizzly mascot, Eddie. And, of course, the artist responsible: Derek Riggs. I trust Sleevage will rectify this immediately!

Anyway, Sleevage is as addictive a site as you’re likely to find. It’s based on the WordPress blog platform, so there’s an RSS feed if you want to keep up with new album art they’re adding.

Should Timbaland stay strictly backstage? Read on and find out.

The Good

• “If you’re looking for introspective, intelligent rhymes, political statements, or social commentary, you won’t find any of that here. Let’s get it straight: the beats are the real stars of this album. You won’t find any memorable lyrics or in-depth storytelling here but if all you want to do is shake your ass, then Timbaland is one of the best in the biz.” [Ed Lau, EdEdition]
• “Actually, the only thing shocking here is the bending & mending of musical genres, & the outcome seems it will be very valuable in the future, giving him constant spins on all types of radio stations.” [Ges Miyashiro]
• “The self-confident “Shock Value” is hardly the big shocker it pretends to be but the record does hold plenty of exciting surprises that make this a very accomplished and entertaining effort.” [Arjan Writes]

The Bad

• “While solo Timbaland’s always been a mixed bag, Timbaland Presents Shock Value is more mediocre than it has any right to be, filled with overreaching pretense and phoned-in vacancy– either trying too hard, or not hard enough.” [Nate Patrin, Pitchfork Media]
• “this lumpen, bloated, boring album is as much of a let-down as any of Timbaland’s other “solo” works… how turgid, tuneless and unmemorable an album they’ve all had a hand in making” [Angus Baatey, Yahoo!]
• ““We on another level,” is the repeated refrain of ‘Hello’, one of the two bonus tracks; sadly, judging by the quality of Shock Value, it seems Timbaland’s content to let loose of a few rungs and wallow amongst the mediocre for a while. Another level, yes; the next level, fuck no.” [Mike Diver, Drowned In Sound]
• “As good as it is, the album’s full of annoyances: every track is introduced with omnipresent hip-hop phrases like “yeah baby” and “go ahead child”, and too many verses have that clicky noise in them, that sounds like you’re pulling your tongue against the top of your mouth.” [Kirsty Krampf, Fake DIY]
• “These craven bids for record company business are compounded by guff, over-filling 19 tracks. Mosley’s head-to-head with Elton John’s piano is more of a skit than a song. His run-in with MIA is a letdown.” [The Observer]
• “He’s really grasping at straws here, trying to be provocative with The Hives, One Republic, singing “don’t it sound good to you?” off key while the singer Elton John plays the piano on “2 Man Show,” and he even tries to make a Fallout Boy track that sounds like anything other than their usual whiny fare (and fails).” [Angelica LeMinh, Shotgun Reviews]

…And The Rest

• “Shock Value isn’t a perfect album, but it does possess various charms. Timbaland is still one of the most prolific producers ever, and more than a decade after his debut, he continues not only to dominate but also to innovate popular music.” [Norman Mayers, Prefix]
• “Shock Value would be less of a hot-and-cold affair with a couple more songs in the vein of Give It to Me.” [Andy Kellman, All Music Guide]

If you’ve written a review of Shock Value, let us know in the comments and we’ll add your link.

The Good

Almost universal rave reviews with this album. Like me, most people found the mix of old soul with modern day sensibilities (not to mention swearing!) a refreshing change from the manufactured pop de jour.

• The real strength of Back to Black is its ability to maintain a strong theme, which with its nostalgic feel, nearly qualifies it as a concept album. Even with each song seamlessly tied to one another, however, Back to Black is also like nothing we’ve heard before. [Helium]
• I can’t stop listening to it… Amy has a textured vocal delivery, an almost raspy voice, combined with her contemporary song lyrics. Hailing from the U.K., she is truly inspiring and her music is full of soul and quite funky. [Dana Tuszke]
• Winehouse pushes the musical envelope even further than the innovative Motown artists who pioneered the genre, with provocative lyrics that would send Motown founder Barry Gordy over the edge. [Daily Nexus]
• She can also be witty, as on “Me & Mrs Jones” when she berates a boyfriend with “You made me miss the Slick Rick gig”. Back to Black is a refreshingly mature soul album, the best of its kind for years. [New Music Review]
• I believe Amy has just started a new change in music and soon everyone might want to have the same quality of music like her. The production was tight and classy and I believe is the winner album of the year!! [Stupid Thought]
• I enjoyed some of the poppier numbers more so than the tortured woe-is-the-Jew-broad slower numbers. The singing is pretty damn good throughout though. [Byron Crawford]

The Bad

When you thought the whole world was raving about Back To Black, it also got some people foaming at the mouth…bring on the haters…

• A sizable chunk of Back to Black…sounds like…white people copping black soul in order to sell booze and ribs. Songs like “You Know I’m No Good,” “Me & Mr. Jones,” and “Wake Up Alone” are nothing more than cheap retro-R&B novelties. [Cleveland Scene]
• The album is almost entirely set in the sixties, reminiscent of The Supremes and Diana Ross, which makes for a good change of pace but also a lack of originality. [Love The Music]
• This album has good production and lyrics(most of the time), but it seems like something is missing. This album is really nothing to rave about, I like some songs, but I doubt I?ll be listening to this whole album all the way through ever again. [Sum Of Everest]

The Summary

Some critics have accused Amy of being a copyist of the old Motown sound. These curmudgeons are missing the point completely – Winehouse reinvents the genre and lyrically deals with subjects that would have been major taboos in that era. I mean, can you imagine Aretha Franklin coming out with “fuckery” in a song?

Many of Amy’s songs tie back to her life, and that autobiographical element is refreshing. What would you rather have – teenagers singing twee lyrics written for them by faceless producers, or real songs written by someone dealing with what seems to be a crazy lifestyle?

As I said back at the beginning of this post, Back To Black is probably one of the best albums I’ve heard this year.

Unbelievably, Poison are still together 21 years after their first album – Look What The Cat Dragged In – was released. Earlier this summer, Poison released their 9th album – Poison’d – featuring their favourite covers from their career. Being a fan of their earlier work, I decided to put together this history of the band told using their albums as milestones.

Prologue – Paris

Poison were originally named Paris when they began life in 1984. Apparently they changed the name to Poison after relocating to LA in 1985. The first guitarist for the band was a guy by the name of Matt Smith, who was replaced by C.C. DeVille.

Perhaps the best-known fact about the band before they started their recording career was that Slash (yes, from Gun’s N Roses) auditioned for Poison at the same time as DeVille. Presumably it was because he already had his own top hat…

Look What The Cat Dragged In (1986)

The scrappy debut album from the boys was low on production values but high on energy. Poison were drawing good crowds on Sunset Strip and their glam look – backcombed hair, big pouts and neon-bright clothes was attracting attention.

Although Michaels later described the album as a glorified demo, it helped the band gain profile in time for what would be a much refined second album. In general, Look What The Cat Dragged In has a lot in common with the early sleaze-rock of Motley Crue.

Open Up And Say…Ahh! (1988)

In 1988, Poison returned with a far more slick arena rock sound, and a slightly less effeminate image, falling slightly more in line with the Bon Jovi look.

Open Up.. spawned Poison’s greatest commercial successes to date, including the anthemic Every Rose Has Its Thorn and the Loggins and Messina cover Your Mama Don’t Dance. The album went on to sell over 8 millions copies.

There was much controversy surrounding the original album cover (pictured here) and the label bowed to pressure to censor the long-tongued demon on the cover. Disappointingly, the new cover focused on the model’s eyes and obscured that phenomenal tongue!

Flesh & Blood (1990)

In the years between Open Up And Say Ahh! and Flesh & Blood, Poison had built a strong reputation as a live act. Apparently in response to criticism of their party-rock sound, Flesh & Blood was a far more mature record, with more serious themes creeping into the songs.

As the band cemented their position as one of the key players in hard rock and hair metal, the grunge explosion was about to hit hard, and internal bickering within Poison was about to reach breaking point.

Swallow This Live (1991)

By the time the double live album Swallow This hit the shelves, C.C. DeVille was out of the band. His various drug and booze addictions had culminated in him screwing up a performance at the MTV Video Music Awards and having a backstage scrap with Bret Michaels.

Swallow This was notably light on new material, but included four new studio tracks which were recorded before DeVille got booted.

Native Tongue (1993)

With DeVille gone, the band quickly hired guitarist Ritchie Kotzen to fill his shoes. This had the effect of transforming the Poison sound toward a more meaty, blues rock sound.

Despite the sophistication of the songwriting and playing on this album (especially the soulful Until You Suffer Some (Fire And Ice)), Native Tongue will mostly be remembered for Kotzen’s sleeping with Rikki Rockett’s fiance. Shame, because there are more than a few cracking moments on that album.

Notice how the album cover is the first to deviate the Poison logo away from the usual acid green.

Crack A Smile…And More! (2000)

Crack A Smile found Poison looking for another guitarist to fill the acrimonious departure of Ritchie Kotzen. They drafted in yet another guitar wizard – Blues Saraceno – who was again given creative freedom within the band.

At the time, Bret Michaels smashed himself (and his Ferrari) up badly in a road accident. During his recovery Capitol Records pushed out a greatest hits package as a stop gap. Crack A Smile was an album ultimately 6 years in the making. By the time it hit the shelves, Michaels and DeVille had patched up their differences and DeVille was back in the band at the expense of Saraceno.

Power To The People (2000)

The 7th album by Poison is yet another live/studio hybrid (their third if you count Swallow This Live and Crack A Smile). It was released only two months after Crack A Smile to celebrate the successful reuniting of the original lineup and the subsequent tour.

Probably the most notable feature of this album is that DeVille gets his first lead vocal on a Poison recording – I Hate Every Bone In Your Body But Mine

Hollyweird (2002)

Finally! After a slew of half-assed albums and lead guitarists coming and going, the original Poison release a full new studio album. Hollyweird is either a regression in musical style or a triumphant return their roots.

Hollyweird sees the band riding the crest of renewed interest in the 80’s rock/metal movement, and the sound is vaguely reminiscent of that era, although production quality leaves a lot to be desired.

Poison’d (2007)

The latest offering from Poison is a collection of their favourite cover versions from throughout their career. I’ve read good reviews of the album, but most people were disappointed at the lack of original material.

For what it’s worth, in a back catalog spanning almost 25 years and nine albums (not counting greatest hits compilations), three of those albums have been hybrids of live and original material and one is a compilation of cover versions, many of which were released as B-Sides. As I come to the end of this round-up, I’m slightly disappointed at that fact.

Nevertheless, we can only hope that Poison release another good record before the wave of nostalgia passes or the band implodes/retires. They still have a fantastic back catalog of songs that actually stand up quite well given their age. I’d love to catch Poison live if they ever make it to the UK…

Big yawn. Didn’t Metallica play themselves out of musical relevance years ago? I haven’t bought a new Metallica album since Load, and I never properly warmed to that one. Then they took a little sabbatical to sue their fans for copyright infringement. That was clever. Even fans who hadn’t downloaded copies of their albums balked at the thought of being taken to the cleaners by Hetfield and Ulrich.

Do you remember when Metallica were edgy and non-commercial? I do. The metal magazines loved them. While the hair metallers were making lavish videos, Metallica never really released a proper music video. Then suddenly (around the Black Album era) they seemed to become a more marketing savvy beast. In came Bob Rock, shorter song lengths and more ambitious videos. Do you remember the video for The Unforgiven?

Then, of course, there was the big budget video for the Mission Impossible soundtrack featuring the members of the band pretending to be international spies. Yeah, Hetfield’s moustache wouldn’t draw attention, would it?

Back in the 80s, Metallica were one of the leading metal bands, with a catalogue of consistently excellent music – from early classics like Seek And Destroy to unforgettable anthems like For Whom The Bell Tolls and One. Somewhere along the line Metallica have sacrificed the musicianship and integrity they had in their early days. It didn’t happen overnight, but has been a long slow erosion of the band.

I remember eagerly waiting on the release of the Black Album and definitely not being disappointed with what I heard. These days, I wouldn’t be inclined to hold my breath for a new Metallica release. Sorry fellas.

Footnote: I took a fair bit of flack for the title Are Metallica Boring. I don’t think there’s anything wrong with that – Metallica being a group of people. Nice to know I’ve got a bunch of concerned English teachers reading this blog… ;)

If you enjoyed this post, remember to check out our completely fictional history of Metallica post.