Savage Amusement – Scorpions

Producer: Dieter Dierks

Released: April 16, 1988

Rating: *****

The Scorpions is an odd band in some ways. Their debut album (Lonesome Crow) was released in 1972 and has classic rock roots. The band’s breakthrough single (No One Like You) came at the height of the AOR era in 1982. In 1984 they released the album (Love At First Sting) that would make them a household name. Twelve long years after their debut album was released, the band had achieved double platinum success in United States. In the world of music, 12 years is the equivalent of three life times.

Having transcended many, changing  musical climates, by 1984 the band truly was the definition of hard rock. Right around 1984, hair metal was exploding like Hiroshima. While not a hair metal band, fans of this genre definitely embraced the band. I can’t honestly say I am a Scorpions “fan,” although I happen to own several of their albums. I’ve seen them live and knew every song. To be honest, I’m not sure I’ve ever met anyone who calls themself a Scorpions fan. At the same time, I’ve never heard anyone say they dislike them. Based on a history of releasing some incredibly strong singles, this band is a lot like Memorial Day. I’ve never heard anyone claim it’s their favorite holiday, nonetheless we all enjoy celebrating it every year.

By the time 1988 rolled around, hair metal and, to be honest, hard rock was the music of choice for a generation. Releasing a hard rock or hair metal album that was a hit in 1988 was as difficult as getting laid in a whore house. Releasing good albums of this variety was another challenge, all together. Four years had passed since the release of the band’s double platinum selling Love At First Sting.  Times had changed a bit and so had the band’s sound. On many occasions, I’ve read articles comparing Savage Amusement to Def Leppard’s Hysteria. Musically, I’ve never heard the similarities. When Def Leppard and Mutt Lange recorded Hysteria the goal was to record an album where all the songs could be singles. If that is what is meant by this comparison, than I guess you could say I “get it”. Clearly The Scorpions had taken a different approach to song writing with Savage Amusement. It’s also clear that the production was a tad more glossy than previous albums. I’ve heard some refer to this is one of the band’s worst albums, yet I contend that it is their best. Sure, the songs aren’t as hard-driving, but they sure do sound good. At the end of the day, the classic Scorpions sound is a riff driven, double guitar assault accompanied by the signature, soaring vocals of Klaus Meine. The songs on Savage Amusement aren’t as heavy hitting and, at times, are a tad ethereal. Maybe that’s way I like it so much.

The album gets started with the somewhat mournful opening riff to Don’t Stop At The Top. It’s an odd, yet perfect way to begin the album’s battle cry. Klaus sounds amazing on this track and even better is when the opening riff is revisited in the pre-solo section. The album’s first single, Rhythm Of Love, begins with another curiously mellow, but cool riff. This is a somewhat formulaic hair metal tune, but the is elevated by stellar production and killer (and credited!) skin on strings mid-section. Passion Rules The Game is the album’s second single and is an absolute gem. This is probably another tune that is a tad too laid-back for fans of the band’s heavier side, but I think the song is brilliant.

Media Overkill has somewhat dated lyrics (or in 2010 are they overly relevant?) and the Frampton-style, talk-box guitar make this song seem a bit ordinary until the killer talk-box solo. Walking On The Edge is more than a bit reminiscent of another, moody Scorpions tune, Still Loving You. Still Loving You is a far superior song, which makes it hard to call this song great. We Let It Rock….. You Let It Roll is one of the albums harder hitting songs, yet also one of the least impressive. My favorite track, and the albums most ethereal is Every Minute Every Day. This is an amazing, unspoken gem that has been completely overlooked by fans of the band.

Love On The Run is probably the albums weakest song, perhaps it sounds like it’s forced. It almost feels like the band is imitating itself, possibly as an apology for not making a traditional Scorpions album. Even at that, the song isn’t terrible. With an opening riff that almost sounds as if the guitar is speaking to the listener, Believe In Love is a stunningly powerful pseudo-ballad. Like Walking On The Edge, it might be easy to pass this tune off as a Still Loving You copy-cat. The chorus is somewhat syrupy, but the riff that is repeated in place of a predictable solo,  help make this odd album closer a perfect choice.

I’m not going to lie, I am guilty of basing many of my opinions regarding music and albums on  production. Right or wrong, I think an album’s production is an essential element. There are many times where the production overwhelms an album and quite honestly apologizes for poor song writing. This is not one of those times. This album has STELLAR song writing and the killer production only helps to elevate these tracks. That being said, there is a part of me that thinks this is my favorite Scorpions album because it doesn’t sound like all their others. Either way, it kicks ass.