Mr. Big are perhaps the best example of a heavy metal supergroup there is. Any band which includes Paul Gilbert from Racer-X on guitar and the unstoppable bass guitar juggernaut that is Billy Sheehan, has to be paid attention to. And boy, were they. In typical metal fashion though, they got the hits, then sunk into their groove and after growing tensions, eventually disbanded in 2002, reforming in 2011 and releasing What If... (and yes, that really is a pig flying on the cover...)
I love Paul and Billy's playing, as musicians they strive to just stretch the technical ability of their instruments, and while shred guitar is often written off as self-indulgent wankery, so what? Generally it's the self indulgent musicians who come up with the ideas which inspire everybody else (examples: Miles Davis, Frank Zappa). However with some players this is a valid criticism (hello Yngwie!) and I guess, should be always taken into account. Masturbatory playing is groovy as long as something comes out of it, and so does this album produce the much needed musical jizz, or the painful friction rashes on the metaphorical foreskin?
Track 1, Undertow, 80's style metal riffage takes over, 80's style singing is provided via Eric Martin and there's little else to say really. It's a very very old style track, 80's American heavy metal as it always was. American Beauty kicks things up a notch, still generic as hell. Though there is a notable Queensryche influence really creeping in if you ignore Gilbert's speed metal playing, especially in the solo, where he's really allowed to take flight. Track 3, Stranger In My Life is exactly as the title makes you imagine, a fucking power ballad. After Bruce Dickenson's 90's classic, Tears Of The Dragon, you'd have thought everybody else would have just given up on power ballads, but no. We have this nasty little turd. Skip it.
Nobody Left To Blame however is a much better track, musically more going on, some interesting textures in the sound, and some sweet delicious Paul Gilbert licks. It's very post-Pearl Jam, though I don't think mainstream American rock has really left the 90's yet. Billy Sheehan's ripping bass takes hold with Still Ain't Enough For Me, we are truely back in '89 speed metal territory here, but Sheehan's bass is so godly that we can let it live. Pat Torpey's stable drumming provides a solid groove for Sheehan and Gilbert to enjoy themselves. Best track of the album so far, deserves some headbanging. Once Upon A Time is perhaps best ignored, it's fucking dull.Hopefully, the next track isn't as far as they can see musically, for As Far As I Can See is again very very generic. Torpey's beat still pounds the same, so repetative it reveals the massive amount of variety in Kraftwerk's motorik drum lines. I get the idea that this album would just work better if everything was removed apart from the solos, which remain fun.
All The Way Up is again best ignored. Boring. Starting with a decent interlude, I Won't Get In My Way is a pretty decent if inoffensive arena rock track, I can imagine the crowd singing along at the chorus. So far, Mr. Big have taken no risks with their comeback album, it's all standard fare, Gilbert and Sheehan's improved playing provide some interesting hooks, but with just three tracks left, can they kick it up a gear?
Around The World treats us with a neat speed metal track with a catchy sing-along chorus. It keeps it's pace, it's enjoyable and you can smell the beer and hairspray! Lyrically, it's written by a five year old, but it is a good example of that kinda enjoyable 80's metal, wanking instrumental sections and all, especially at the end. Guitar playing like molten honey. I Get The Feeling is clearly about the feeling of wanting to be David Lee Roth (which naturally we all get from time to time, but the spandex just don't fit). Unforgiven returns to the speed-metal-meets-Queensryche sound to mixed results, the playing is tight, the drums still boring, the track still kinda meh. The solo can't save it.
You'd think I really hate this kinda music judging by my negative review, but it's something of a guilty pleasure, as a guitarist I love listening to players push things as far as they can go, and I think that's why I don't like this album as much as I should. Billy Sheehan has had an amazing time in Steve Vai's band, and to come from something so quirky and interesting as that, to then just providing standard bass lines is a tragedy. Likewise, Gilbert has won the respect of almost every guitarist alive during his solo career, he doesn't need this. Comeback records really are the difficult ones to do, you have to get the balance just right between doing something new and exciting, and also appeasing the fans. Judas Priest hit it perfectly with 2004's Angel Of Retribution, and Hawkwind with 2010's Blood Of the Earth, though Gong's 2032 tried to do too much, with no real substance or support behind it. Here, Mr. Big have just gone to appease the fans, and as a result, done nothing new, exciting or interesting.
Also, I really need to think of a better, quiker and easier way of doing album reviews rather than by a track-by-track breakdown!!
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