By Chuck Klosterman
From Sex, medicinal drugs, and Cocoa Puffs; Chuck Klosterman IV; and Eating the Dinosaur, those essays at the moment are on hand during this booklet assortment for lovers of Klosterman's writing on rock song.
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Extra resources for Chuck Klosterman on Rock
Jon Bon Jovi is kind of the Robert Frost of heavy metal. The great thing about Frost was that his poems weren’t always about metaphorical bullshit; sometimes a poem about chopping wood was actually about chopping wood. Bon Jovi was the same way; he wrote literal lyrics and dulcet melodies, and they didn’t worry about credibility or attitude or the legacy of Tony Iommi. We may remember Bon Jovi as the safest of all these metal bands and certainly the most stereotypically commercial, but they were real songwriters who simply tugged at heartstrings instead of brainstrings.
If asked to list the ten best rock albums of all time, this is the only pop metal release that might make the list; it’s certainly the only Reagan-era material that can compete with the White Album and Rumours and Electric Warrior. Appetite for Destruction is an Exile on Main Street for all the kids born in ’72, except Appetite rocks harder and doesn’t get boring in the middle. It bastardizes every early Aerosmith record, but all the lyrics are smarter and Axl is a better dancer. Part of the credit for the success of this five-headed juggernaut has to go to Nigel Dick, the faceless fellow who directed all the videos for GNR’S early singles.
Lay Your Hands on Me” and “Bad Medicine,” the melodramatic opening tracks off New Jersey, still sound captivating. ). Jon Bon Jovi is kind of the Robert Frost of heavy metal. The great thing about Frost was that his poems weren’t always about metaphorical bullshit; sometimes a poem about chopping wood was actually about chopping wood. Bon Jovi was the same way; he wrote literal lyrics and dulcet melodies, and they didn’t worry about credibility or attitude or the legacy of Tony Iommi. We may remember Bon Jovi as the safest of all these metal bands and certainly the most stereotypically commercial, but they were real songwriters who simply tugged at heartstrings instead of brainstrings.