Review Summary: Extreme is back and still got it.
Despite the fact that Extreme started in the 1980s, they fit the trends only partially. Their exterior attributes met the requirements of the period, but musically they stood out among other glam metal bands. Unfortunately, they started to gain popularity at a time when the public’s attention began shifting to alternative rock, which was gaining momentum. So, even though the band released two excellent albums in
Pornograffitti and
III Sides to Every Story, they failed to leave the imprint in music history that they could (and should) have. Losing more and more ground, Extreme ended up breaking up, relegated to the outskirts of the music industry. Luckily for the band’s (scarce?) fans, in 2007 they reformed with practically the same line-up, rather quickly followed by a new album –
Saudades de Rock.
In terms of sound, the latest Extreme effort is more along the lines of
Pornograffitti, shedding all the grunge influence extensively present on their last pre-breakup LP,
Waiting for the Punchline, while also borrowing from the ambitious
III Sides to Every Story. The latter is noticeable in the wide genre spectrum added to their funk skeleton. While funky guitars remain center stage, on
Saudades de Rock they are infused either with country (
Take Us Alive) or blues (
Last Hour), with occasional swapping of electric guitars for acoustic ones or piano. Those familiar with Extreme through their song
More Than Words should not feel short-changed, as the album includes three power ballads of varying success. Probably the most emotionally strong number is the last track on the album
Peace (Saudades), based on a simple key melody and Gary Cherone vocals.
It is without a doubt that the main weapon in Extreme’s arsenal is Nuno Bettencourt, whose guitar virtuosity remains unheralded during the compilation of various ‘best-of’ lists, while his name is mentioned with enthusiasm among a small circle of fans. In terms of speed and technicality, he holds his own against the famous Eddie Van Halen, while also not forgetting about the melodies. His elaborate but catchy riffs and licks are always a bright spot on any of their albums, and it is a pleasure to note that on
Saudades de Rock Nuno hasn’t lost his chops. While his work here may not stand against his strongest efforts, it’s still nice to hear the axe-man maintain his high level. Look no further than the first track on the record
Star, which boasts a busy but recognizable riff.
The only shortcoming of the LP has to do more with its production. The songs tend to sound somewhat clipped, like they were put in a vessel of smaller volume, and the tracks have no place to spread out and completely envelope the listener. Due to this,
Saudades de Rock requires some getting used to. However, if we look past the production, we can find the album to be a joy to listen to. Almost all songs are of the same quality level, without many hiccups. In general, the record can effectively grab the audience from the very beginning to hold their attention until the very end, and the proposed variety serves as the icing on the cake. In any case,
Saudades de Rock can be described as a solid addition to their brief but brimming with impressive talent discography, so we can hope for a second helping since it seems the band only started to get their groove back following a long time of stagnation.
