Alice in Chains, Alice in Chains (1995)

I’m sure one exists, but I’ve been racking my brain trying to think of a darker pop album than Alice in Chains‘ 1995 self-titled LP, and I just can’t come up with anything. Sure, most of its singles — opener “Grind,” the later “Again” with its inconsistent but catchy “boop-boop” hook, and even the acoustic-led “Heaven Beside You” — were rockers, but is 1992’s genre-defining classic Dirt was an exploration of the pain and longing of addiction, then surely the 64-minute, 12-song Alice in Chains captured something of its depths. Of course, it would be the band’s final album with frontman Layne Staley before the singer’s recession into heroin use and his eventual death in 2002 at the age of 34. That context, and the fact that until guitarist/vocalist Jerry Cantrell, bassist Mike Inez and drummer Sean Kinney released Black Gives Way to Blue in 2009 with then-new frontman William DuVall, it was their last record, period, unquestionably informs the listening experience, and songs like “Brush Away,” “Sludge Factory,” “Head Creeps,” “God Am,” “Nothin’ Song” and “Frogs” are that much darker for it, with the finale “Over Now” originally written by Cantrell about his girlfriend at the time, but seeming to mourn the band itself in the lines, “You know it’s been on my mind/could I stand right there/Look myself in the eye and say that it’s over now?/We pay our debt sometime.” One way or the other, there seemed to be an acknowledgement there that something was drawing to a close.

And so it was. Alice in Chains followed the 1994 EP Jar of Flies, which like the band’s preceding short release, 1992’s Sap (discussed here), was driven primarily by acoustic material — plus one goof track, lest they take themselves too seriously — which had followed the radio success of Dirt singles like “Would?” and “Rooster” with its own string of hits in “No Excuses” and “I Stay Away.” Neither of the self-titled’s harder singles — that’s “Grind” and “Again” — would have the same reach as “Heaven Beside You” or “Over Now,” but whether a given song was loud or quiet or brash and doomed as was “Sludge Factory” or even daring to show a little hope as was the particularly gorgeously harmonized “Shame in You,” which by my estimation is a lost treasure of the band’s discography, not the least for its meandering finish, which is something they rarely let themselves do, Alice in Chains was consuming and dark, varied in its execution but consistent in its message. With Cantrell — who would release his first solo album, Boggy Depot, three years later in 1998 and later tour with DuVall (also of Comes with the Fall) in his band — taking on the bulk of the songwriting duties, the songs had a largely unified perspective, and with Staley‘s addiction to heroin well documented as by then taking its toll on his ability to function in the band and more generally in life, it was the guitarist who stepped in to fill the void, essentially readjusting the balance that had been at work in Alice in Chains since (before) 1990’s Facelift, their debut album. Indeed, especially in light of Boggy Depot and its vastly-underrated follow-up, 2002’s Degradation Trip, Alice in Chains is very much emblematic of Cantrell‘s songwriting approach in its maturity, which of course would continue to manifest during Alice in Chains‘ second run beginning with their reunion in 2005.

That isn’t to minimalize Staley‘s contributions vocally, however. “Head Creeps” was a six-and-a-half-minute chasm of grim psychedelic impact and tension with his voice overtop, and though its guitar patterning was more indicative of Cantrell‘s poppier work, “God Am” still bore the haunting quality that Staley brought to “Sludge Factory” and “Brush Away” immediately before it, following “Grind” in an opening salvo that seemed to push further into an abyss before “Heaven Beside You” stepped in to provide some measure of respite. Playing that dynamic, and indeed Staley and Cantrell, off each other — with the always-inventive drumming of Kinney and Inez‘s clinic-in-class bass as a foundation — became the push and pull of Alice in Chains, and the material thrived on the overarching conflict. Listening to it nearly a quarter-century later, it does not sound like an easy record to have made, and by all reports, it wasn’t, but its emotional basis, troubled sensibility and sheer level of craft still resonate, whether it’s the manic “So Close” or the sweet melodies corrupted in “Frogs,” which moved from its solidified hook into a wandering nod-off of Staley seeming to predict his own death in mumbles as the instruments behind offered a darker take on “Shame in You”‘s wandering sensibility, this time feeling isolated and almost nihilistic. Is it any wonder that “Over Now” began with a sample of “Good Night” by jazz bandleader Ted Lewis? What else was there to say?

Naturally, though it seemed like it would be their last record after Staley‘s death, Alice in Chains wasn’t the last music the band produced in this incarnation. In 1996, the live recording of their appearance on MTV Unplugged — I remember watching it on its first airing; it was incredible — became a hit in its own right, and two songs, “Get Born Again” and “Died,” recorded in 1998 for inclusion with the Music Bank box set. They would be the last tracks Staley recorded with Alice in Chains, though he also appeared on a cover of Pink Floyd‘s “Another Brick in the Wall” on a 1998 movie soundtrack as part of the assembled one-off “supergroup” Class of ’99 with Tom Morello of Rage Against the Machine and members of Jane’s Addiction. It was less than a career highlight.

Last year, Alice in Chains marked the release of their third post-Staley LP, Rainier Fog (discussed here), and the fact that they’ve gone 10 years with three records out with DuVall means they’ve at this point been around longer without him than with and put out as many albums. I won’t take away from the quality of Rainier Fog in manifesting a persona for Alice in Chains having moved forward in a way that even the prior 2013 outing, The Devil Put the Dinosaurs Here, and Black Gives Way to Blue couldn’t, but there are many for whom Staley‘s work in the band remains an essential facet. There are arguments to be made for either side, and frankly, I’m not interested in laying them out or begrudging a band whose work has legitimately changed my life their finding a path and continued success along it. Either way, their ’90s-era recordings stand as testament to the force they were at the time in creativity, performance and presence, and of those, Alice in Chains remains singularly affecting.

As always, I hope you enjoy. Thanks for reading.

—

Been up early the last two days. Like 1:45AM. Yesterday I was like, “Duh, I’ll get up and get all my writing done and then I can just relax when the baby naps and that’ll be great because I have infinite energy and I can just sit and read and there’s no way I’ll immediately fall asleep or anything.” Clearly that was dumb. Today was less of a conscious choice. I was just up. I tried to go back to sleep for an hour, read some, and then finally decided to say screw it and start the day. Coffee, Alice in Chains, the whole bit. It’s quarter-after-four now. I had the notion of going to 7-Eleven at around three to buy a bag of ice, but wanted to get this post done first. I may yet head out. It’s like three minutes away. Not such a journey. I used to walk there when I was a kid, probably listening to Dirt or Suicidal Tendencies’ Art of Rebellion or whatever on my Walkman.

We were back in Massachusetts earlier this week. Monday, I guess it was. The Patient Mrs. was giving a talk on campus up there — one of her last duties to Bridgewater State unless you count emptying her office and teaching an online class — so I went up as well and packed vinyl and a bunch of other stuff from the kitchen and around. Most of what’s left is like stuff from closets and furniture. The closing date on that place is in about a month, so hopefully nothing falls through with the buyer between now and then and we can be done with it, get everything else out before we close. We came back down to Jersey on Tuesday and have been here since, are staying here through the impending terrible heat this weekend. No central air, but window units should do the job fairly enough. One hopes, anyhow. There’s a ton to do in this house. Everyone is overwhelmed. Tense. Could probably stand to get laid.

This was my grandmother’s house before she died, we’re buying it from my mother. It’s been cleaned up, but not really cleaned out, so as we’re basically moving a house’s worth of stuff into it from, you know, our house in Massachusetts, there’s a concurrent house’s worth of stuff we’re moving out from here. Some of that has been donated, some my mother has taken, some is stuff my sister was storing here, some is going to my cousin, some we’re keeping, etc., but everything is an emotionally fraught process, and there is a fucking ton of it. Plus we found a leak in the wall upstairs in the rain yesterday and god fucking knows what that portends in terms of repair. Six years ago, when we moved to MA, we just packed our shit and left. This has thus far been much more complicated, and we have a long way to go.

But eventually, that will result in a new dishwasher, and I sincerely look forward to that.

Today at 1PM Eastern is a new episode of The Obelisk Show on Gimme Radio. It’s my tribute to Maryland Doom Fest 2019, just playing some of the bands and talking about the festival a bit. It was a good time, so I wanted to highlight that. Call me nostalgic if you must.

Next week? Wolf Blood review, I think. With the AIC done, I’m listening to that record now and it’s pretty killer. Then maybe Morass of Molasses and we’ll see about the rest. Lo-Pan have a show in Teaneck next week that I’m going to hit up ahead of seeing them with C.O.C. in August, so I’ll review that — I don’t expect much in terms of lighting — and there are a couple sweet-ass The Obelisk Presents announcements coming as well, so keep an eye out.

The rest is and will be what it is and will be.

Everyone have a great and safe weekend. If you’re someplace warm, stay cool and hydrate. If you’re someplace cool, get some good snuggles going. Who doesn’t like snuggles?

Thanks again for reading. Forum, radio, merch.

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Tags: Alice in Chains, Alice in Chains Self-titled, Columbia Records, Seattle, self-titled, Washington

This entry was posted on Friday, July 19th, 2019 at 8:55 am and is filed under Bootleg Theater. You can follow any responses to this entry through the RSS 2.0 feed.