SCORPIONS - Taken By Force. Japan (B20D-41013)

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Fecha: Martes, 2014-06-24, 7:44 PM | Mensaje # 1

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SCORPIONS - Taken By Force
Japan (B20D-41013)

Edición japo del quinto álbum de estudio de esta banda alemana. Aquí empezaron a endurecer sus sonido, dejando de lado sus raíces psicodélicas y derivando hacia un sonido más Hard Rock/Heavy Metal, lo que significó la sustitución de Uli Jon Roth por Matthias Jabbs en el siguiente disco de estudio de la banda al discrepar con este cambio. Además fue el primer disco con Herman Rarebell a la batería.

Tracklist:
1 Steamrock Fever 3:42
2 We'll Burn the Sky 6:31
3 I've Got to Be Free 4:04
4 The Riot of Your Time 4:14
5 The Sails of Charon 4:16
6 Your Light 4:35
7 He's a Woman - She's a Man 3:18
8 Born to Touch Your Feelings 7:41

Codec: EAC-FLAC
Tamaño archivo: 280.77 MB
Portadas: Todas, 400 dpi

Disponible sólo a los usuarios

Japanese edition of Scorpions' fifth studio album, the last one with Uli Jon Roth playing guitars and the first one with Herman Rarebell on drums. The sound here is more Heavy Metal oriented which cause the departure of Uli Jon Roth from the band.

From Metal-Archives:
When you will listen to this album, I’m sure it’s gonna be hard for you to believe it was done in such early time. Other heavy stuff had been made already in the early years of the decade, by 2 big British bands basically (is it easy to guess their names?). By the mid-70’s, classic rock’s splendour began to crumble down, though, while new styles like punk took all attention. What about Scorpions? By those days, they made clear already with 4 stunning albums they weren’t just another generic rock band. Their music had always been more aggressive and direct than the rest, their attitude much raw and their lyrics and cover artwork plenty of controversy. For this record, they wanted something more sophisticated and ambitious, although as usual, you can still find surprising killer metal tunes too.

This is the result of every previous release they did. Now with a much more clear and straight direction, Scorpions offer a splendid variety of sounds here, avoiding uniformity again. The most intense of the whole album are some tracks plenty of real power, violence and speed. Don’t tell me “He’s A Woman - She’s A Man” doesn’t sound absolutely thrashy and rampant. The astonishing tough riffs of Roth and Schenker are so immense and remarkably executed, constructing a totally solid wall of sound of pure heavy metal. Scorpions also prefered to play kinda faster than most of other famous rock bands of that time, as the epic “We’ll Burn The Sky” proves. Actually, that track is the perfect reflection of these guys more progressive and complicated intentions, inherited from their second record title-track “Fly To The Rainbow”. This time, they went further into that concept of lenghty instrumental passages, rhythm changes and numerous breaks. They make it longer and more elaborated, including some impressingly skilled arrangements and melody. The result becomes true magic on unforgettable compositions like “The Sails Of Charon” and “The Riot Of Your Time”. Both completely extraordinary, developed from a polished clean musical basis that alternates mellow guitar lines with raw riffing. Melody is outstanding, delicious and rich, with Klaus’ voice at its best, defining it ideally, fervently. Other numbers, like “Your Light” are elegant and versatile, with those stratospheric guitars of exquisite texture by Roth, and abstract cool lyrics. The structures are competent and properly revealed. There’s time for straighter songs, whose simplicity makes them enjoyable. “Steamrock Fever” or the naughty single “Suspender Love” have very intense riffs, energy and grace, conceived with less difficulty, but still convincing and inspired, no weak spot can be found.

The sound of this masterpiece has nothing to do with the decadent late 70’s classic rock. The band refuse the cliches, topics and habits of the genre to offer something fresh, more exciting and proper for the times. I guess somehow, Scorpions must have been slightly influenced by the attitude and rebellion of punk, although, instrumentally not at all. The heavy tracks are pretty brutal, advanced and pioneer for that year. It is shocking to know this was done back in 1977! These guys started to introduce already those characteristics that would determine the 80’s heavy metal patterns: loose tempos, much more harsh direct riffing, less exhausting instrumental progression. However, Meine and co. never really forgot completely of their instinctive sophistication and class. Certain complexity and explicit virtuosism can still be found here. Particularly, on Roth’s guitar parts. It’s easy to notice this guy has something special, unique, a remarkable classical music inspiration and tremendous technique. The way his insatiable fingers perform such velocity, harmonies, arpeggios, his distinctive whammy-bar effects and bestial dive-bombs are sometimes impossible and truly memorable. One of the masters of shred, whose technique is undoubtedly controlled, mature. Nothing to do with that bunch of silly guitar shredders who just wanted to play fast chaotically to impress. In this album, Uli became more involved in the song-writing process than before, contributing to make this music richer, plenty of unpredictable influences and excellence. He made an incredibly combination with Rudolf, playing cathartic guitar lines that attack without compassion, but also surrender to melody when it’s time. Supported by a very perfectionist rhythmic section: Francis and Herman sounded back then way more technical and skillful, if you compare it to what they did later. And Klaus became a superior singer with each record, specially here with his enchanting vocals.

The brilliant culmination of the Uli Jon Roth years, a hugely influential album for following metal subgenres and movements, a true masterpiece of talent, creativity and musicianship. However, Roth was determined to leave and start a solo career with his own band Electric Sun. I guess he had some extra motivation, knowing this would be his last record with Scorpions. The finest farewell possible, along with the spectacular “Tokyo Tapes” double live LP. So unfair this material doesn’t get the recognition it deserves, it’s not the most popular and admired release of this group. It deserves more attention, specially because it was the heaviest stuff you could find back in the late 70’s, along with Rainbow’s “Long Live Rock ‘N’ Roll” and Judas Priest’s “Sin After Sin”.

NO A LA LEY LASSALLE