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The late 70’s were times of changes for Scorpions and for the rock scene as well. The band couldn’t get stuck in the past and had to change and develop their sound if they wanted to get something big and ambitious, and compete with the new young heavy metal groups. The departure of a guitarist of the level of Uli Jon Roth could’ve been disastrous for their music, but fortunately they found the perfect proper musicians to replace him on this record, and you all know who I mean. The Lower Saxony metallers put all their trust again on legendary producer and sound engineer Dieter Dierks, who would also produce and promote the band in their following records until the end of the 80’s. His contribution was essential and indispensable to support and help Scorpions to achieve their stunning new sound that would make them become one of the greatests heavy metal bands in the planet. Although they were already respected and extremely influential for the metal fans worldwide already by that time, this long-play would mean an even more significant success in their career.
A time of changes for their sound as I mentioned, this record was one of the most essential and pioneer to set the rules and guidelines of the upcoming movements in the genre. The old-fashioned cliches of 70’s classic rock are left behind, specially the weighty heavy rthythms; now the compositions feature a much more dynamic agile tempo and the vocals and chorus become catchier, more notable. The structure of the tunes is not as complex, and the intention of the song writing is more commercial and straight, avoiding excessively lenghty instrumental passages. However, the technique, virtuosism and skills are still essential elements to develop their sound; Scorpions didn’t forget about their characteristic aggression and fury on the guitar riffs, the attitude and the verses. Melody is present as well, the lead breaks on “Loving You Sunday Morning” or the superb instrumental “Coast To Coast” put a lot of emphasis and attention on it. The memorable ballads “Always Somewhere” and “Holyday” are an extraordinary display of consistent melodic chord series that progress during the song and support Klaus Meine’s leading vocals to reach an emotional effect on the listener; his heavenly voice never sounded so perfect and elegant on each note. But you’d better beware of the violence and brutality that is yet to come on the long-play song-list: the sublime spectacular velocity on the pioneer speed metal track “Another Piece Of Meat” and the fierce riffing sequence on “Can’t Get Enough” make clear that this is not a ballad band like most of people wrongly think. Nobody else, apart from Judas Priest or Motörhead did something so crude, merciless and outrageous like these couple of numbers by 1979. The exception on the pack is “Is There Anybody There?”, which is an exotic surprising composition that takes influence from reggae and Brazilian regional music styles, featuring immaculate acoustic guitar arrangements, melodic lines, and Herman Rarebell’s tribal tropical percussion. The result is fresh, original and loose; the band experiment with these unpredictable influences and elements to get a surprisingly amusing work.
The new line-up is simply brilliant, technical; the fresh ideas of each member are something out of this world. Both Jabs and Michael’s tapping and gargling guitar technique, their alternating arpeggios, their harmony on the high notes, the whammy-bar dive bombs, their pull-offs and their incredible ability and agility on the pickin’ parts are pure art. And Rudolf doesn’t always get the credits he deserves for his solid rough rhythm guitar work, his contribution on the song-writing and his charismatic presence and backing vocals. As I mentioned before, Klaus’ voice is immense on each tune, reaching easily both high and low notes, and screaming wild sometimes to make you shiver. His lyrics are horny, kinky and explicit, however there’s also time for melancholy, love and feelings. The most underrated rhythmic section of 80’s heavy metal has no rival, Francis Buchholz in particular did a versatile sharp performance, cathartic on his galloping bass lines on the title-track, 4 years before Steve Harris patented that technique on the Iron Maiden classic “The Trooper”.
The massive crushing success of this record came as no surprise, and their sophisticated skilled metal sound would reach even higher levels and peaks in following releases. The influence and contribution of Scorpions to later metal subgenres was crucial and vital, inspiring people like Gene Hoglan, Rob Flynn, Jeff Waters, Juan García or Alex Skolnick. I also highlight the great taste of Scorpions for their cover designs and artwork, this is specially one of the most iconic by Storm Thorgerson from Hipgnosis, named best album sleeve of 1979 by Playboy magazine and it made clear that controversy is the best promotion. It fits the attitude and charming music of the band and I wish it wasn’t censored for many years. So I recommend you to relive the magic on this long-play and enjoy one of the finest German bands at its best.
With tensions building up between guitarist extraordinaire Uli Jon Roth and founding members Rudolf Schenker and Klaus Meine over the band’s musical direction, a separation was inevitable. Roth wanted a more ambitious musical output that his success-driven bandmates were not prepared to accommodate, so he was replaced by Matthias Jabs, thus completing the so-called “classic” Scorpions lineup (drummer Herman Rarebell had been acquired for the previous Taken by Force) that would indeed achieve commercial success and several popular mega-selling albums in the decade to come.
But back to 1979. With Roth finally out of the way, there was nothing standing in the way of Rudolf and Klaus’ shot at mainstream acceptance. As such, Lovedrive is easily the most straightforward and accessible of the Scorpions albums up to this point, though not necessarily a strictly commercial outing. The bizarro cover art (produced by Hipgnosis, who else?) and the biting, occasionally dissonant riffs of tracks like “Another Piece of Meat” and “Loving You Sunday Morning” are products of a band not entirely opposed to experimentation. But Lovedrive is definitely the official birthplace of the popularly accepted Scorpions and once again we find the band’s material paralleling that of Judas Priest’s work of the same period (see: British Steel or Killing Machine). No-nonsense, hook-oriented riffing and Klaus Meine’s signature vocals are the driving forces behind these songs and at times, their only saving grace (the strange reggae-rock of “Is There Anybody There?”). Jabs proves himself a reasonable soloist, but his skill would mature a few albums down the road. In the meantime, founding guitarist Michael Schenker briefly returns to add a bit of lead magic to some of the album’s more remarkable tracks.
The rhythm section has been simplified from albums of the past, one of a few unfortunate concessions in the bid for popular approval. A more tragic example occurs in the album’s softer moments, where the band’s signature power ballads, once sublime, are now merely token. “Holiday” is the better of the two, somewhat recalling the soft-spoken beauty of the Roth-era. Other highlights include the instrumental rocker “Coast to Coast” and the title track, the latter of which borrows the unmistakable groove of Priest’s “Diamonds and Rust” to good effect.
Certainly a weaker Scorpions album (and a surprisingly shorter one), but it isn’t bad at all: the worst things you can say about it are that it’s occasionally typical (“Always Somewhere”) and at other times very strange (“Is There Anybody There?”). However, those things are enough to fault it, and all the sticky bubblegum tits in the world can’t kick it into the same league as their earlier material.
Scorpions's sixth studio effort was it's best, until the Blackout arrived some years later. Lovedrive is described as the Scorpions's first classic album, because the album contains some classic material. This is also the first album to feature the classic line-up (Meine/Schenker/Jabs/Buchholz/Rarebell). Ulrich Roth left the band and Matthias Jabs is his replacement.
The line-up and the musical direction got stabilized for about ten years. Their style is more leaning to harsher edge since 1976´s Virgin Killer. The Scorpions's cover art has always been sexist in the way or other, and this doesn't make an exception (bubblegum on lady's tit). Album also has a brief return of mama Schenker's prodigal son Michael, who appears on three tracks. He's last Scorpions album was the debut Lonesome Crow before moving to UFO.
Lovedrive offers classic after a classic, for the whole record. "Loving you sunday morning" starts this package. It completely fulfills the requirements for the "classic Scorpions track", which means it's cathcy, chorus is great, vocal melodies are good and the screaming solos fill the air. "Another piece of meat" is also a classic. It's more rude and rowdy than "Loving you sunday morning". It has Michael Schenker on lead guitar. The next piece is "Always somewhere". Scorpions have the pattern that the third song is a power-ballad, and this doesn't make the exception. Is there something new to be said about the Scorpions-power ballads? I don't think so. This one is sweet, but not in the way the band approached about twenty years later. Guitar melodies are good. "Coast to coast" is another classic song, and Michael again on lead guitar. This one is an instrumental, what isn't common on Scorpions-albums. The over-technical solos are missing on the track, what isn't a bad thing at all.
"Can't get enough" is rude and crushing and also faster. Meine screams a lot on this track. Probably the best song of the album is the classic "Is there anybody there?". If I have to describe it to someone who doesn't know it, I say it's slower and more peaceful. The main guitar riff sounds to my ear, that it has some reggae-influences. The last rocksong and Michael Schenker track of the album is the title track, "Lovedrive". It's intro is too progressive and dim to fit into classic Scorpions song. The song gets back to normal Scorpions mold in the chorus at the last. It has also a very stange ending. "Holiday" is the last classic song of the album, because it's the last song of the album (quite logical, innit?). A ballad is in question, but it's one of the best Scorpions ballad ever made. The song is acoustic guitar-driven and weepy, but it has some raw guitar attacks in the middle, and the solos are crying. The songs ends instrumentally, with acoustic guitar and the crying solo guitar backing it.
If I have to choose the most definitive tracks of the album, I would choose "Loving you sunday morning", "Another piece of meat" and "Is there anybody there?". There are no bad tracks here, but some of them are maybe too average like "Can't get enough". The classic album packed with classic material, but not at their best.