Dirt

This is it: the pinnacle of the grunge movement. Okay, perhaps that's a bit of an overstatement, as it didn't achieve the commercial success or influence of Nirvana's Nevermind, nor even Pearl Jam's Ten, but in terms of quality it's hard to overstate this album. While I don't think the aforementioned albums have any bad tracks, nor indeed do Soundgarden's two big albums, Alice in Chains' Dirt is such a masterclass in vocal harmonies, perfect production, insane technique, and pure atmosphere that I don't think anything else to come out of the grunge scene stands up to it (with the possible exception of Alice in Chains' own 2009 album, Black Gives Way to Blue, which I'll discuss more in the review for that album). Indeed, few albums in history - rock, metal or otherwise - can compete with the perfect storm of influences and ideas on display here. Jerry Cantrell and Layne Staley certainly never made a better collection of songs together, and it seems that the pair's issues with drugs and mental anguish, particularly Layne's, would ultimately culminate in Dirt, which tonally at least presents a concept album about a descent into madness, pain, and ultimately death, foreseeing Layne's demise and the dissolution of the band in its original form. While it's unfortunate this would be the result, this is one of the greatest expressions of pain, horror, and self-loathing, and something that's almost universally understood by any of the, as the band terms them, "stoners, junkies, and freaks" of the world, or more broadly, those who feel outcast or estranged by the world, providing their thoughts and suffering validation in musical form.

First off, the production is even better than it was on Facelift, rivaling the clean and polished yet full and expressive sound of a record like Nirvana's Nevermind, and in some ways even exceeding it, with Cantrell once again being master of the guitar tone, showcased with big, squeaking lines like in the main riff of "Rain When I Die" or "Rooster," where the guitar almost becomes a third voice to join in unison with Staley and Cantrell's vocals, given how expressive it sounds. The clean sound heard alongside an acoustic track in "Down in a Hole" is just subdued enough to provide what it needs to, and of course the harsh, angry timbre present on "Them Bones" or "Angry Chair" is delightfully dissonant, while the swirl of chaos in "Would?" is something metal bands might envy to this very day. Staley is also in absolute top form, from the powerful AH's of the opening track to the wistful croons of "Rooster" and everything in between, with his vocal range in particular being quite noteworthy, covering a gamut of both technical and emotional achievements that put Cobain and Vedder to shame, really only being rivaled by Chris Cornell within the grunge realm.

There are also few tracks here that fall short of absolutely excellent from a songwriting perspective, with "Dam that River" being the only track that I personally give less than a 9/10 (and that one gets an 8/10 from me, being "merely" very good compared to the greats the album is otherwise filled with). The level of influence some of these tracks would have is also immense, considering the band basically invented much of the sound here on this album, though prototypes were heard on Facelift in some cases. "Sickman," for example, with its deranged yet playful tone, almost certainly would be an influence on Korn and early Slipknot, as well as the entire alternative metal scene with its yelled, syncopated vocals anticipating (and, at the same time, mostly exceeding) the entire nu metal scene. "God Smack" is another obvious one, being the namesake of a band which themselves went on to sell millions of records (can you guess which one?), and again revolutionizing the ways vocals were used in this branch of rock music with its wavering effects and largely a-melodic delivery, often employing ideas which had mostly been used in industrial music at that point (though other bands, particularly Nine Inch Nails, were incorporating similar ideas around the same time). Still, the fact that the album is not only so experimental but also so consistent is absolutely mindblowing to me in and of itself, as most albums which innovate this much are uneven to some extent.

Even the melodic tracks here blow away what 99% of other bands were doing, with "Down in a Hole" being a song that bands in the goth, emo and sad rock scenes wish they could write with its pure, unadulterated expression of grief, while "Rooster" combines so many influences into a cohesive epic that also manages to be accessible enough that it saw significant radio play is just utterly absurd. "Rooster" is probably also the only track here that could reasonably be argued to be "upbeat" in any way, and even then it's pretty subdued at times, but does have a positive vibe in a survivalist sort of way. This is probably due to the fact that this song was written by Cantrell about his father's time in Vietnam, rather than being about death or addiction or some other personal demon of the band members. The drumming here in particular is fantastic, with a militaristic roll in the verses that showcases the inventiveness of the often overlooked Sean Kinney.

Though the album opens with "Them Bones," which definitely has some pep in its step, being fast and vicious, as the album goes on the vibe definitely gets darker, murkier, and more hateful (often towards the self), with "Junkhead" covering the topic of drug addiction and drug use head on, "Dirt" covering the topic of self-loathing and suicidal ideation, and "Hate to Feel" bringing in the idea of drowning in negative emotion and repeating the mistakes of the father, perhaps even being doomed to fail in life and ultimately fall into depression, drugs, and death. These are incredibly heavy topics to cover back to back, and I would say that musically the sound also slowly gets darker, doomier, and more painful as the album goes on, with the final two tracks, "Angry Chair" and "Would?" (the original track listing had "Down in a Hole" near the end, but I consider the track order which lists it as track four to be the definitive one) dealing with insanity and death, respectively. Though "Angry Chair" has a somewhat upbeat chorus, its verses and riffs are some of the nastiest here, with vocals chanting in an almost ritualistic way lines like "Loneliness is not a phase / Field of pain is where I graze / Serenity is far away," suggesting that even the memory of better days is difficult to conjure now, and many of the lyrics suggesting someone who's ultimately experienced a break from reality and can only see inwards into the cesspool of their own mind.

"Would?" is the icing on the cake of the album that is Dirt. It was written in memory of Mother Love Bone's Andrew Wood, who died of a heroin overdose in 1990, and covers the idea of death itself and takes Wood's perspective in wondering, in his final moments, if there was any path back for him. Of course, it probably mirrors the bands own uncertainty, considering Staley himself was becoming a heroin addict during this time and other members of the band were certainly using cocaine and other substances. However, even seeing the death of their friend wasn't enough to conquer their own issues with drugs, which would claim both Layne and bassist Mike Starr, as well as so many others within the grunge scene and the greater scope of the music industry in general. This track takes a stark look at mortality as well as the stigma associated with drug-induced deaths, with Layne uttering the unforgettable line, "Try to see it once my way." It suggests, at least indirectly, looking back at what personal demons and past traumas can lead one down such a path, and many of these factors are indeed explored in earlier songs on the album, showing where they can lead or, if one works backwards, what the autopsy of a drug user's life looks like.

This album is absolutely brilliant in its relentless darkness and yet stunning accessibility, being perhaps one of the best-selling albums of all time to be simultaneously so musically and lyrically bleak throughout, though others do come to mind, like The Cure's Disintegration, and I don't have any sales figures in front of me so that's ultimately just speculation on my part. However, its influence and quality are both at the top of their class, and there's really very little I could fault this album with. I would say that it is Alice in Chains' best album at the end of the day, as while I consider Black Gives Way to Blue to be its equal in songwriting, the absence of Layne's inimitable delivery puts it a step below. There's not much more I can say that I or others haven't already said, except that this is an essential album for any fan of the darker, heavier side of music, grunge, or metal in general - this is something you need to listen to before you die, and perhaps it may serve as a cautionary tale on the dangers of following the path into drugs and despair.

People mistakenly either fixate on the gloomy, almost dreary quality of Alice In Chains music or their numerous radio hits but what a lot of people ignore is the sheer versatility and actual emotional range of this band. Just because AIC were popular on MTV doesn't discredit them any more than Iron Maiden or Slayer being on MTV does. It is a little unusual that they got lumped into the big 4 of grunge, because they were already operating outside that continuum before it existed, largely bereft of the punk and noise rock influences that shaped grunge. Alice In Chains have always maintained that they were a heavy metal band, even going out on the now-legendary "Clash Of The Titans" tour with thrash metal bands as well as tours with Aerosmith and Van Halen. When Alice In Chains appeared on the musical landscape back in 1990 with debut album "Facelift", nobody looked twice at them. There was no such term as grunge and they were not even mentioned in the same breath as Faith No More or Concrete Blonde (saying that, they weren't exactly Poison or the Black Crowes, either). They were a band of metalheads from a hard rock/heavy metal background who got lumped into grunge seemingly because they did not sound like Queensryche or Metal Church (also both excellent bands in their own right). Apart from marketing strategies by major labels and the medias constant need to categorize everything, one reason I feel Alice In Chains was accepted by the alternative nation was their unique take on every aspect of their songwriting, from heavy hitters like "Man In The Box" and "Them Bones" to acoustic numbers that featured harmonica work (!) Everything they did, Alice In Chains did their way. They wanted to be heavy, but they didn't want to be Metallica or Guns N' Roses. If anything, they followed the spirit but not the letter of earlier bands like Black Sabbath or Blue Oyster Cult, to be honest.

It is tempting, some may say even inevitable to compare AIC to Nirvana if for nothing else, geographic proximity and their front persons relationship with heroin but every similarity there may be, there are twice the amount of differences. Nirvana were from Aberdeen and came up worshipping punk Bands like Melvins and Wipers as well as college radio staples like Sonic Youth and Young Marble Giants, whereas Alice In Chains metallicity was evident from their inception. Nirvana took a more ramshackle, unhinged approach to songwriting and performance but in AIC, a lot of meticulousness and attention to detail went into the creation of their music and it's documentation, in addition to the fact AIC are a better band from the standpoints of both musical ability and technicality. Alice In Chains are able to better delegate vocal and guitar duties to say nothing of lyrical and songwriting duties due to the fact that there is a separate vocalist and guitarist, as well. But to devote a whole review to comparing 2 bands is a little fatuous so let's talk more about "Dirt" and it's contents.

The title of Alice In Chains 1992 follow-up album "Dirt" could've easily been "Heroin: The Album" because the substance and its effects dominate the lyrical and musical landscape of this album. The albums second line after the opening line is "Some say we're born into the grave" and throughout you can just smell the opiates coming out of the speakers. It's almost a concept album about heroin. Heck, even the title of the album seems like a thinly-veiled reference to the drug. But dig a little deeper, and one will realize "Dirt" is an emotionally honest journey into the tormented inner life of someone who is an open book about it. All the elements that became AIC trademarks are presented in all their glory on "Dirt": Wavering, double tracked vocal lines that almost rise and sway into the air like opium smoke, guitar effects like wah and talkbox used for rhythmic purposes instead of lead (birthing an unlikely guitar hero in the form of one Jerry Cantrell), narcotically bent guitar strings and depressing, almost gut-wrenching lyrical themes. Grunge or not, it is almost as if AIC blends the most accessible elements of Danzig with the lurching heaviness of Type O Negative but their sound is unique and unmistakably Alice In Chains. They sound like no other band, Seattle or not and though they have spawned countless imitators (Stone Temple Pilots and various "modern rock" bands post-2000 to name a few), they have never been replicated.

On "Dirt", it seems as if Layne Staley is preoccupied with death, the concept of mortality and a sense of his own fatalism. It is an exploration of his own addiction and the depressive state of his mind, and in true 90s confessional style, the listener is along for the ride. The most astonishing thing about this album (other than the fact it ever got made in the first place) is how much musical uplifting can be gained from such tear-inducing subject matter. Centerpiece single "Rooster" begins with beautiful crooned vocals and clean guitars culminating in one of the most head-bang worthy appearances of a chorus heard since Death's "Pull The Plug" off of "Leprosy." A more harrowing first-person account of a soldier at war has not been heard since "Disposable Heroes" from Metallicas opus "Master Of Puppets" 6 years earlier. Heroin addiction or not, vocalist Layne Staley delivers when it is called for, and it shows on tracks like the afrementioned "Them Bones" and "Rooster" as well as closer "Would?" A lot of the other tracks on "Dirt" that didn't make it to radio ("Sickman", "Junkhead", "God Smack" et al) seem like brutally honest testimonials to the results of hard drug addiction, like twisted exhibits in the museum of Layne Staleys tortured psyche. If Nirvana's "Nevermind" was a defining record of rock music in the 90s, "Dirt" is as well because it almost serves as a seedy underbelly to it, even a metallic analogue. It is just as pivotal and far more transparent in many ways. and that goes for its own merits a hard rock/heavy metal as well, not just as a comparison to contemporaries.

People (particularly bands and musicians) affected by the grunge explosion have pooh-poohed grunge for among other things, fixating on the darker things in life. This just goes to demonstrate the shallowness, lack of maturity, and lack of comprehension of the poodleheads to begin with. Grunge didn't just do away with the Extremes and Mr. Bigs infesting rock just because those bands lacked nads, they did away with those bands because the raw, sometimes painful honesty of the lyrics connected more with the audience of the post-Gulf War 90s. Even though "Dirt" is nowhere near my list of favorite albums, it is a powerful album that delivers genuine emotion as well as eliciting a somewhat unexpected emotional response that very few albums ever have for me. If you are a combat vetern or someone who has struggled with substance abuse issues, it can be genuinely triggering. It is equal parts, bleak, cathartic, horrifying and beautiful all at once. The passage of time only heightens these elements in light of the passing of Layne Staley at a young age. The paradox is completed of how someone who can be an icon for their generation can also be eluded by happiness. This might be the part of the mystery to say nothing of the appeal to the future generations who will continue to discover and reflect upon the 90s metal rock masterpiece and tribute to sorrow that is Alice In Chains "Dirt."

You probably don’t need me to tell you that ‘Dirt’ is a masterpiece. And yet, that is what I will be doing in the next five hundred words or so. It will be an impossible task to find the words for how much I love this album, but if one album deserves the effort, it would be Alice In Chains’ sophomore album. While Alice In Chains has yet to release an album not worth hearing, there is a sense of urgency and a dark, twisted atmosphere to ‘Dirt’ that none of their other albums consistently feature, making it one of my favorite albums of all time.

In a sense, ‘Dirt’ is the album where Alice In Chains found its signature sound: generally slow, creepy riffs that combine a seventies hard rock swagger with a doom metal feel and of course the trademark dual vocal harmonies by Layne Staley and Jerry Cantrell. The debut occasionally touched upon that, but there were also distinct traces of the band’s glam metal past. Those have largely been exorcized here. What remains is certainly dark and depressive, but with enough memorable melodies and excellent songwriting to not become totally unlistenable. Alice In Chains are masters of this balance.

Opening track ‘Them Bones’ was the first Alice In Chains song I have ever heard and excellent proof of how the band keeps their music listenable. The lyrics are firmly tongue-in-cheek, while the tempo is above average for the band. This philosophy extends to the next two songs, but in a way that it eases you into the less easily digestible material on the album, especially by how it subtly slows down. ‘Dam That River’ is still a driven rocker, but ‘Rain When I Die’ already kicks down the tempo a few notches, which allows the Staley-Cantrell vocal duo to shine even more.

What is most impressive about the rest of the album is that all of it is instantly recognizable as Alice In Chains, but there is still a great degree of variation. The title track is a twisted psychedelic rocker dominated by Jerry Cantrell’s wah-drenched riffs, ‘Down In A Hole’ a full-on elegiac ballad, ‘Rooster’ a remarkably refreshing subversion of the power ballad and the catchy ‘Godsmack’ still has a few traces of funk metal riffs, which are all the more powerful due to their relatively limited number. ‘Would?’ eventually became the number one fan favorite of the band. It is an atypical closer in how it suddenly ends, but such a wonderfully dynamic track that it hardly matters.

As someone who liked the state of heavy metal in the eighties, it would be tempting to dismiss anything that came from Seattle in the nineties. Much like Soundgarden, however, Alice In Chains sort of bridged a gap between scenes. There are too many huge, monolithic metal riffs on ‘Dirt’ to limit them to the meaningless grunge tag. For what it’s worth, I have always considered them a metal band for the alternative rock era. Whatever you choose to call ‘Dirt’, it is a masterpiece of dark, powerful music that belongs in any rock collection.

Recommended tracks: ‘Them Bones’, ‘Would?’, ‘Rain When I Die’

Originally written for my Kevy Metal weblog

This is probably going to be a pretty short review. There is only so much you can say about this album before it begins to get repetitive. I honestly find this to be one of the best heavy metal albums of the 90s. Sure, call it grunge or whatever, but there are many times in Alice in Chain's career where they proved themselves to be a heavy metal band. This album is astonishing and very close to being a perfect record. They improved on almost all aspects from their last album and proved again that they are master song writers. This album has some of the best hard rock/heavy metal songs of all time on one album.

To start things off, all the instruments sound way better compared to "Facelift". Mike Starr's bass and Sean Kinney's drums have a more notable presence here. Unfortunately, and fortunately, almost everyone here is overshadowed by Layne Staley yet again. Each track has some of the most emotional singing I have ever heard. Combine that with another amazing Jerry Cantrell performance and you honestly can't go wrong. Everything on this album is performed to perfection.

These songs are written incredibly well. Many people ask me what I listen to when I am depressed and I never thought Alice in Chains for some reason. Maybe it has been a while since I listened to them, but fuck. Songs like, "Sickman", "Junkhead", "Hate to Feel" and "Down in a Hole" really hit hard. Knowing what happened to Staley makes these tracks sound like a cry for help. The lyrics from "Hate to Feel" are probably the best example of the brilliant song writing.

"What the hell, gotta rest
Aching pain in my chest
Lucky me, now I'm set
Little bug for a pet
New Orleans, gotta get
Pin cushion medicine
Used to be curious
Now the shit's sustenance"

It's just so well done and paints a picture in the listener's head. It's emotional and comes across smart and respectful.

There are thirteen tracks on "Dirt", but the first six is what defines the album for me. However, the next three tracks kind of dip in quality. For starters, the title track just doesn't do it for me. "God Smack" is performed very odd and "Iron Gland" should have been, like, an end-of-the album skit. I'm unsure what the hell happened with those three songs, but it quickly regains momentum with "Hate to Feel". It's funny because before I ever heard of this album, I always thought "Would?" and "Down in a Hole" were higher up on the track list. Having those two songs, being the best on the album, as the last two tracks is insane to me. "Down in a Hole" is not only one of the best emotional tracks on this record, but probably the best I have ever heard. The album ends with you wanting more, but also extremely satisfied.

The raw talent from this band is absurd. Staley's pitch is all over the place and he never sounded better. He hits every note and it cements him at being one of the best voices in heavy metal/hard rock. Cantrell plays some of the best riffs of his career. "God Smack" is an example of that and one of the reasons I didn't completely want to disregard the song from the record. Mike Starr sounds fantastic and I am very glad he gets some more prominent sections. Sean Kinney's drumming is extremely tight and one of the few good things about the title track. All in all, this band is very close knit and "Dirt" should be celebrated as one of the best albums of the 1990s. There are some issues with a few of the tracks towards the middle, but the record begins and ends almost flawlessly.

Recs: "Down in a Hole", "Would?", "Them Bones", "Dam That River", and "Rooster"

Cannibal Corpse have had it wrong for years. You don't need gory lyrics, death growls or low, crunchy guitars to be dark. But of course, this is common knowledge. And this is masterfully proven by four guys from Seattle who, ironically, used to play glam metal in the '80s. Alice in Chains's Dirt is a study in hate and darkness, an album so toxic it can be fatal in large doses. Hell, this makes My Dying Bride look like Poison.

It's difficult to quantify exactly what it is about Dirt that rubs me the wrong way. I mean, I still like it a lot, but being as AiC are one of my favourite bands, I have high standards when it comes to their albums. And I consider this easily the weakest of the Staley-era albums. Maybe part of the problem is it is just too real. I know this sounds odd criticising a band for having lyrics that reflect reality but this is too vivid. Listening to this is like living through Layne Staley's drug-induced nightmares. And it leaves a bitter aftertaste in the mouth.

That's not to say it's free of all musical issues, though. There's an unnecessary interlude which adds nothing and just gets in the way, and there's "Sickman", a confused musical mess of a song, which I guess is supposed to represent the chaos of drug addiction, but it just comes off as a pool of half-formed musical ideas with weird, though admittedly effectively disturbing vocals by Staley. Then there are songs which, though initially enjoyable, on repeat listens reveal themselves to be not as good as, for example, "Bleed the Freak" or "Sludge Factory". This category encompasses three of the five singles: "Dam That River" (although a fairly enjoyable hard rock song), "Rooster" (overlong), and "Would?" (props to this for being a tribute to the brilliant Andrew Wood)

But while those songs may not hold up on repeat listens, we're not talking about a record by any average band. This is Alice in Chains and as such there were always gonna be some classics here. Therefore, "Them Bones", "Rain When I Die", and "Down in a Hole" are bona fide AiC classics, so by extension are fucking brilliant and stand beyond all criticism. "Them Bones" is ushered in by a Jerry Cantrell riff which will become embedded in the brain after a single exposure, and the wordless vocals of Staley, not unlike "Man in the Box" on smack, before evolving (or devolving?) into a complete monster. But it's okay, because it's only 2:30 long, the perfect length; not long enough to inflict depression on the listener but long enough to cement its status as a piece of heavy metal brilliance. And "Down in a Hole" is more or less the perfect power ballad (although to call it that seems patronising), all soft acoustics and gentle vocals. But beware: you want to enjoy that one with Prozac handy.

And another thing to praise: the musicianship is supreme. This is the last album with original and superior bassist Mike Starr (or maybe I'm just a sucker for the original line up), and it shows that these guys had been playing together for ages before this album. Maybe they weren't quite bonded by blood, but certainly bonded by drugs. I can only wish, however, for more of the Staley-Cantrell vocal harmonies that made Facelift so special though.

So, there you have it. An album that could have been great, and probably would have been if there was some let up at some point. And it could have been remedied easily: stick "Would?" in the middle of the album, or even write some of that funk shit from the debut and put it on here. Because really, there's only so much nihilism we can take in a single sitting. Go ahead, put this one on in the car, but remember: avoid direct contact with eyes and skin, keep out of reach of children, and if swallowed seek medical advice. This stuff is dangerous.

Darkness, acid, psychedelia, depression and "in your face" headbangers. The sum of these elements (in different amounts, of course) gave rise to an unique balance in the form of this masterpiece which is Dirt. The score I attributed to the album in question does not mean that it is absolutely perfect - as far as I know, there is no such thing - but it turns out to be symbolic, from the personal point of view, because it is a record that belongs to a restricted lot of records that I hear non-stop times and from one end to the other without feeling bored or need to skip tracks.

For me there is no discussion about the nature of Alice in Chains (AiC) as a metal band, even because, as many other reviewers have already pointed out, they get a big chunk of their influence from bands bands like Black Sabbath or Melvins (among others) to the final sound of the band. The aspect that I think it is important to emphasize is that with Dirt, AiC have become, themselves, a reference to be followed by contemporary and future bands.

Although there is a certain negativity going through the band's entire course - in the emotions conveyed by their music, their lyrics and unfortunately by the real life of its members - I think it is safe to say that Dirt has established itself as the solid bridge between the acidic atmosphere of Facelift and the self-destructive environment (for the reasons well known) of the self-titled album that would succeed.

This perfect mix was made possible only by the geniuses they proved to be in composition and to which the technical gifts of each member of the band are keen. I'd like to highlight the powerful and multifaceted voice of Layne Staley ("Them Bones", "Sickman", "God Smack", "Would?"), the delightful groove of Sean Kinney ("Sickman", "Junkhead", "Angry Chair", "Would?") and Jerry Cantrell's infectious riffs and a self-restricted "less is more" kind of approach in his leads. Mike Starr is omnipresent, the bass is audible and important in the construction of the sound wall the album drains.

The end result is suffocating or overwhelming (choose what you consider most appropriate) and it turns out that Dirt has become very effective at conveying emotions. The best way to illustrate the sensations it gives me is that it leaves the listener as if stuck to the ground with a kind of goo that prevents him from rising, no matter how hard he tries.

I venture to say that the most direct and aggressive songs, contrary to what often happens, are the ones corresponding to breathing space: "Them Bones", "Dam That River". They're the "happy tunes" around here! All the others oppress, either by the sick poetry recited by Layne Staley's tortured voice - "Sickman", "Junkhead", "Dirt", "God Smack" - or by the hatred they stink - "Hate to Feel", "Angry Chair".

AiC have still given us room for melancholy, either through the form of a ballad in the case of "Down in a Hole" or through a song ("Rain When I Die") that resembles the passage of a gloomy movie in which the protagonist plays a monologue about what happened and what is to come.

Closing, with a golden key, the epic (epic, by AiC standards) "Would?" which synthesizes, in an effort of remarkable composition and in an unique blow, all the shades offered by the masterpiece that this album represents.

I can only say that I do not consider "Rooster" a song as good as many people think. Anyway and despite being just "an oak song", it is not enough to ruin the gloom and dark class of an album that will surely stand the test of time.

It is interesting to see how the psychedelic passages from "Hate to Feel" or "God Smack" coexist in harmony with the sludgy doom of the remaining slower songs. The glue that allows it is the balance, in perfect symbiosis and complicity, between the overlapping voices of Layne and Jerry that have established themselves as an AiC trademark which eventually seems inimitable in the world of heavy music.

The score is worth both for the album itself, and compared to the rest of the discography that, I might add, maintains, in my opinion, the extremely high standard.

The whole album is a highlight by itself, but if I even had to extol a few songs (as if to recommend a sample), my bet would fall on "Them Bones", "Dam That River", "Sickman" and "Would?".

Alice in Chains are certainly a heavy metal band. Perhaps they are better known for being a grunge act, but they are heavier than Nirvana, Pearl Jam and Mudhoney. Alice plays their own blend of alternative metal but it just so happens that they were from Seattle where the grunge scene exploded. The bands plays this alternative style because one song they are practically doom metal and the next song has a radio friendly chorus. Just contrasting and comparing the songs Rooster to Junkhead shows you the different moods that Alice can conjure up.

Dirt is the legendary album that Alice will be known for. It is certainly their flagship album with the band at their peak performance. Both heavy and light, Dirt encapsulates Alice perfectly. Dirt shows the band hitting their stride. Facelift was very well done but inconsistent while the tripod album is a very depressing affair. Dirt is an album that stands head and shoulders above Alice's discography and the entire grunge rock scene of the 90s. It's unique, it's brooding, it's scary and it is drug fueled. It's a rewarding and sometimes depressing journey that has a lot to offer a first time listener. Dirt is an album full of radio rock singles, but they do not become stale or overplayed in the context of the album. It's one of those albums that has so much to offer, that repeat listens are warranted and revisiting the album remains appealing.

The musicianship is insane on this album. Mike Starr's last major bass effort is a monster one. Sean Kinney is solid and reliable. Cantrell channels Tony Iommi and the radio rock of the 90s but in his own unique harmonizing way. Mr. Layne Staley is at his vocal peak on Dirt. The way he can harmonize with Cantrell proves the chemistry between the two. He has such a range and he perfects the signature Alice sound with his mournful wails and drug induced cries. If you thought Man in the Box was a great song, just wait until Dirt has been played in its entirety. The entire album is chock full of Man in the Box quality songs. There's no doubt that Dirt is a 90s masterpiece and the songs of a generation.

Dirt features many excellent songs. Songs like Would and Rooster classic radio staples. Junkhead and Dirt are so heavy while being full of doom. Down in a Hole shows the bands softer side and hearkens back to their Sap EP despite being electric. Many other songs are just so bizarre because of a vocal delivery method or a really crazy harmony from Layne. Each song pack a unique punch to put it plainly. Every song should there and is present for good reason. The band is firing on all cylinders.

This album is not for the faint of heart. It is for the sick minded and the castaways. It's definitely not an album for everyone. Some cannot handle Layne's singing or have tired of hearing the singles on the radio. Some can't handle the darkness of what drugs can do to and the terror they are associated with. I wouldn't judge you if Dirt is not something you are passionate about. For me it will always be life changing and something worth passing down to future generations. Alice carved their way into my soul and Dirt should be celebrated as the essential AIC album.

If Alice in Chains released 'Dirt' in hopes to achieve some commercial success, then they used the correct formula for it, because that's exactly what happened. There's really no wonder why this album is often considered Alice in Chains' finest work, since it's got some of the sharpest hooks and simplest "sing-and-play-along-to" music in rock.

The band's two biggest hits are present on 'Dirt' - "Rooster" and "Would?" - these two are most definitely the most overplayed and overrated Alice in Chains songs ever, but are built in the way that makes 'Dirt' such a popular album. The music is very simple; there's nothing overly-complex and mind-blowing with the riffs or song-structure; it's very straight-forward and uses the ancient verse-chorus-verse formula,, but the choruses to these songs are memorable enough to leave prints on people's minds, even if they don't know the band or listen to this type of music, in general. The very same can be said about a few other songs on 'Dirt'; most notably "Them Bones", "Rain When I Die" and "Junkhead".

This album also contains some very dark and personal songs, with "Angry Chair" being the stand-out one. It's dark as hell, yet has a strangely uplifting chorus that once again works as a great hook, which is light and catchy enough for radio-play. Another Alice in Chains classic would be "Down in a Hole" - a dark, melancholic rock-ballad with exceptional vocal harmonies and calm, melodic instrumentation, and then of course, the memorable chorus.

The songs mentioned above are the ones that are made to leave an impression on the listener - thanks to their strong choruses, they're very accessible and enjoyable by just about anyone, and make up the bulk of this album's strength.

There are, however, some rather underwhelming tracks, too. "Sickman" is a bit all-over-the-place and sounds like a left-over song by Acid Bath that wasn't used for any of their two albums. The same can be said about "God Smack"; though, this one is much more enjoyable than "Sickman", and Layne Staley sounds almost identical to Dax Riggs of Acid Bath here. These two, along with the title-track and "Hate to Feel" leave are significantly weaker than the other songs mentioned. They are the opposite of what makes the other songs good and memorable, and while it's often "more metal" to have songs that aren't golden for radio and other ways of commercial success, these ones just sound somewhat forced and are, at best, filler material.

'Dirt' is a good album, but a tad inconsistent; even if the majority of the music here, is very enjoyable. Despite the few songs that are a bit iffy, Alice in Chains proved that their song-writing was good enough to create radio-worthy rock hits without becoming a desperate cash-hungry band (Metallica, coughcough).

How the hell did Alice in Chains get so popular? I mean, really, they had all the narcotic shit going on, they weren't averse to tampering with musical formulas, and they sounded totally out of their time. Looking back, it's easy to say that Layne Staley's drawling, slurring vocals pulled them into the grunge wave (maybe their home in Seattle too, hehe), as well as Jerry Cantrell's propensity for putting out riffs alongside some pure noise and ugly guitar frolics; then there are those vocal harmonies, which go closer than Nirvana ever did to Kurt Cobain's supposed blueprint of The Beatles-meets-Black Sabbath; also, the kind of depressing themes, which really scrape the bottom of the human condition - angsty, self-doubting, self-loathing. For these guys to be big, we sure know that the early 90s were a strange time.

However, Alice in Chains had (and continue to have) more metal credentials than any other of the Seattle bands, and satisfy in a slightly offbeat way that caters as much to 70s fuzz devotees as to the cool modern kids. To describe the elements that make up their sound is easy, yet to compare them to other bands is difficult: there's a stoner element that doesn't go all the way to Kyuss or Sleep, but actually verges on the more conventional songwriting style that Queens of the Stone Age have been so successful with; there's that retro edge that borrows from Black Sabbath, Jimi Hendrix, The Beatles, and even dips a toe in the 80s doom pool to add a dash of Saint Vitus and Pentagram; added to that are some more extreme tendencies that are not extensively seen on this album, such as the sludge scene of Crowbar, Corrosion of Conformity, and Down; finally, some of the offbeat spirit of the 90s alternative bands is certainly there in the form of Faith No More's shadow, Nirvana'a snottiness and catchy abrasiveness, not to mention Soundgarden's experimentalism. Seriously, show Alice in Chains's Similar Artists list to a mate and see if their head doesn't explode.

This album is a little less complicated than all that, and - to all extents and purposes - can be viewed as Alice in Chains's "commercial" album, though that's not really conceding very much. You can sing along to most of the songs here if you don't mind hurting your throat and there are several riffs to hum or to provide the timing for stabbing the cushions on your sofa, whichever appeals most. When the song 'Dirt' starts and you find yourself nasalling along to Staley's "aah"s (trust me, nasalling is the right word), you'll start to realize why it's so hard to pin this band down to a particular sound. The vocals are instantly distinctive, pretty hooky, and very memorable, yet they aren't exactly good in any quantifiable way, just appropriate for the music, except for Cantrell's harmonies, which actually are great. Cantrell is also a fucking amazing guitarist and spends most of this album looking like he's doing fairly little while actually showering class and detail all over the place. The basic riffs for most of the songs are reasonably simple, but always have plenty of character: some of them are ballsy as fuck ('Rain When I Die' anyone?), some of them are darkly brooding ('Angry Chair' sounds like the next James Bond theme), while a few of the slowest numbers draw more overtly from the doom scene, even if the sick atmosphere absolutely hits the nail on the head. Mike Starr's bass is a significant part of the picture too, making up a huge wall of sound behind the more classic guitar. Sean Kinney is key to this album, keeping those influences from becoming too obvious by playing his own thing, which means that 'Dirt' never errs too close to the extreme or commercial side of things, continually adding complexity to hookier sections (the chorus of 'Angry Chair') and loosening the screws a little when the band hit the sludge and doom treacle.

There are songs on 'Dirt' that everyone has heard, though the relative consistency of the album means that there is a lot to enjoy beyond the radio hits. All of the singles (5 of them, this was a big boy on the charts) are decent, though I've never quite understood the fuss about 'Rooster' or 'Would?', which is perhaps more hype than anything. It's true, 'Would?' soars up into a big chorus with a nostalgic vocal, but looking elsewhere, 'God Smack' has one of the grimmest riffs this side of Norway, 'Rain When I Die' manages to be touching and all about the guitars, 'Dam That River' is so easy to sing along to, and the title track is a culmination of everything that makes the album great. Admittedly, 'Hate to Feel' is a tad disappointing, lurching about like a car with the handbrake still on, and 'Sickman' represents another dip, yet there's not a great deal wrong in an hour-long album, and that's an achievement in itself.

I thought 'Dirt' was pretty good when I bought it as a 15 year old, and almost 10 years on, I can still listen to it with active enjoyment, even if the reasons have changed slightly. Both accessible enough for the mainstream and heavy enough for the metal community, this is one album that unaccountably succeeds, despite the mess of the scene that it sprung from and the influences it melds together. A weird triumph.

Alice In Chains are renowned as being one of the best bands in grunge, primarily due to their first two albums. Originally fronted by Layne Staley, they put out three albums before that particular man died due to his long-standing heroin addiction, leaving behind a legacy, before they reformed under the guidance of DuVall for two modern albums. The most recent of these albums was released in 2013 and marked a return to the sound they created on Dirt, which inspired many people to dive back into their previous releases to check out this particular album. Those who decided to do this will be exceedingly impressed by what this album has to offer, whilst those who are yet to do so should consider doing that as soon as possible, as this album will change your life.

Dirt is frequently cited as being one of the best albums in grunge music, although it has more of a metallic tint to it than, say, Nirvana or Pearl Jam. It combines that monumental vocal talents of Layne Staley with the extremely tight instrumental work of guitarist Jerry Cantrell to create one of the most unsettling atmospheres in musical history. This was a release captured at the height of the band's personal troubles, with every member struggling with some form of addiction, ranging from heroin to alcohol, and the band acknowledges this within the album, adding to the unnerving feel each of these songs have. In fact, the lyrics are one of the main reasons that Dirt succeeds. Opener Them Bones kicks things off in bleak fashion with lyrics pertaining to mortality, whilst Junkhead and Godsmack are two extremely open and honest songs about the addiction Staley was battling, Rooster deals with Cantrell's grandparent who fought for his country and Down In A Hole is just a depressing rout. Rarely is there an album that is as flat-out open and honest as Dirt, but it truly works to its advantage here, conveying the emotions that the band felt and the true hopelessness of the situation Layne found himself in.

Of course, lyrics are only half the story and in order to give them even more feeling, a solid vocalist is required, and this is exactly what Alice In Chains provide. Staley boasts one of the most powerful voices I have ever had the pleasure of hearing, hitting some unbelievably strong notes on some songs. From the opening staccato screams on Them Bones to the switch between a shouted style of singing into a vibrato note on Junkhead, Staley gives his absolute best performance here. The debate rages to this day as to which of the band's two frontmen they have had to date is the better vocalist, but this release should settle that debate. A signature of the band's sound is the dual vocal lines that Jerry Cantrell provides the other half to, and they are done to great effect here. Dam That River and Angry Chair have two of the best sections of dual singing on the album. The guitar playing that Cantrell provides is also absolutely stellar, with some beautiful solos found on songs like Them Bones, whilst Rooster is pretty much a lesson in how to create a truly dark and horrifying sound with a guitar. He is not the most technically gifted guitarist of all time, but the ability he does possess, he puts to great use here.

The other members of the band are not to be overlooked either, with Dam That River and Them Bones showing off some superb drum playing. Would also contains one of the best bass lines of all time, rumbling along throughout to make for a stellar sound. Every member of Alice In Chains knows their role and they do their job fantastically, to create for one of the best-sounding releases of all time, and anyone who has not checked this out so far should consider doing so. The songs are immensely catchy, from the very powerful chorus of Would to the madness that ensues on multi-part track Sickman, and will hook you right in.

It's a little ironic that Alice in Chains were considered such a popular force in grunge music, considering they were perhaps one of the most sludgy and vile bands of the 90's. Between such maniacal singing and screaming, riffs buried in a huge mound of thick distortion, and such depressing thoughts of the world around them, it was clear that Alice in Chains were in a league of their own. Where Nirvana would tidy up their sound for 1991's Nevermind, this band wouldn't sacrifice how dirty and low their music was, no matter if they got popular or not.

This brings us to their second offering, Dirt. It's an album so sickening and yet so perfect; an album so gloomy and yet so heavenly. What we have here is a flawless collection of 90's metal classics, most of them laced with some of the most morbidly dark and flat-out honest songs written in their time. All of this is wrapped in a musical package that's so consistent and consistently intense that it's very hard to ignore.

Oddly enough, the experience begins with two of the most upbeat tracks, "Them Bones" and "Dam That River." Starting with Layne Staley's high-pitched vocal bursts, "Them Bones" is a song about our mortality; it's basically speaking about how we're all going to die, and of course for everyone it will be inescapable. Uplifting start, huh? Anyway, this is supported by a bizarre 7/8 rhythm with the guitar work being downtuned to high heaven. All the instruments feel hollow, but it only represents the band all that much more. "Dam That River" is the fastest song on the album (debatable with "God Smack" later on the album), and also probably the most uplifting, although that certainly isn't saying much. The pace of the track is akin to "Sex Type Thing" by Stone Temple Pilots, and the chorus is equally aggressive and haunting.

After that's done though, welcome to musical hell. The riffs devolve more into a slow grind, and the pain of the vocals and lyrics only increases as the record wears on. Songs like "Junkhead" and "God Smack" are very specifically about the band members' drug addictions (specifically heroin), while songs like "Dirt" allude heavily to even more brooding images like death and suicide. Many of the songs have more relation to doom metal and sludge metal than grunge at this point, and any similarities to the other members of the Big 4 of the genre become less apparent. Perhaps the best example of this is the song "Hate to Feel." It starts off with a 3/4 riff with an extremely haunting chromatic guitar progression; however, said guitar sound becomes more crunchy on the low end of things, and the power of the doomy grind the song employs feels like the equivalent of being buried under the hot sun.

The members' technical abilities are great, too; each member contributes almost equally to the power of the experience musically, and they react to any quick changes in the songs very efficiently and effectively. Of course, the highest praise still has to go out to Layne Staley and guitarist Jerry Cantrell for creating such a foreboding and deep atmosphere on the album. Most of the time, both of them go hand in hand with each other, tossing parts of the songs to each other and also harmonizing extremely well with each others' vocals.

There's not much more to say. The album is perfect, a monolith of doom-and-gloom that stands as one of ultimate musical statements of modern music. If you haven't listened to it yet, make it your next purchase; it should be number one on the "to buy" list.

(Originally written for Sputnikmusic.com)

Although my experiences in heavy metal have taken me into a vast sea of various genres and sub-genres, something always pulls me back to Alice In Chains. As one of the first bands I ever truly got into, there has always been a quality about this group that always brought me back to their material enjoying it just as much as I did in days long past. One characteristic I always loved about the band was their ability to use the Black Sabbath medium to create something different, or at least provide a different take on an already established form of metal. To an extent, their "grunge" era brother band in Soundgarden also did the same thing, which always drew me to their music as well, but Alice In Chains possessed a quality not many bands had in the early 90's: authenticity.

As I'm sure most are aware of, the early 1990's found a niche of musicians (of Seattle origin, of course) who tried to present a new take on an already established set of musical ideas. Due to a notion that good music still exists once one had effectively pissed away any iota of creativity, the majority of these bands failed in their quest to establish originality, or at least anything remotely interesting. Alice In Chains and Soundgarden both defied these trends of their time, while also being apart of them enough to be recognized with the scene. Of these two, Alice In Chains presented something rather original, at least in context if not in form.

Whereas Kurt Cobain built himself on his music of Black Sabbath worship without an inkling of skill, Jerry Cantrell continued to show his formidability as a guitar player. This helped to keep Alice In Chains clearly above the majority of their peers, regardless of what degree they could be likened to the Seattle crowd. Alot of this also comes from Layne Staley, whose voice has taken a noticable beating since "Facelift" just two years earlier. His drug addictions had gotten rampant by now, thus helping to influence this album. Staley's own personal demons combined with Cantrell's magnificent songwriting abilities allow "Dirt" to manifest itself as a violent torrent of pain and suffering. When I hear this record, I hear the confessions of a self-aware but seemingly powerless heroin addict unable to escape his own problems, even though he's fully aware that it could be the end of him. As we all know, it was the end of him almost a decade after this album's release and in retrospect adds a sense of ghostly foreshadowing to the majority of the lyrics here.

Yet while Staley provides the tragedy of a heavy metal icon, Cantrell provides the guitar prowess and songwriting abilities. As was present on the previous album, Jerry Cantrell writes the majority of songs here. This includes the most well known hits, particularly "Them Bones," which despite its gloomy lyrics possesses a more jolly feel to it than most of the band's other material of this time. This is seen again in "Down in a Hole," which has more in common with alternative rock than what Alice In Chains is usually known for, but its well written enough to keep it from falling into alt rock's usual sense of banality. Elsewhere, Cantrell pens the brooding "Would?" and also the great but overlong "Rooster," which is lyrically based on his father's time in the nightmarish Vietnam War.

Layne Staley also makes a songwriting debut here, co-writing a number of songs but penning two completely on his own. "Hate to Feel" isn't my favorite song here, as it seems a little long and doesn't draw from sufficient ideas to keep it moving, similar in nature to "Sickman" and "Junkhead." However, "Angry Chair" is far superior, not to mention haunting. It further compounds Staley's lyrical focus of addiction and the damage it causes. The song stands as one of the best on this album, and one of the best Layne Staley ever wrote on his own.

I agree some of the sentiments here in that "Dirt" is an overrated album, but it still stands as one of the best of its era. For Alice In Chains' 1990's catalog, "Dirt" actually sits at the very bottom, which is only a testament to how incredible this band truly was. As far as "Dirt" is concerned, I can recommend most Alice In Chains to seek this out, although it doesn't stack up as well as "Facelift" or the self-titled do. However, its with this album that I feel Staley made the majority of his most convincing confessions about his inner demons, but for those looking for a purely fun heavy metal album, I'd advise seeking out "Facelift" instead as that one is more in tune with what you're looking for.

Alice in Chains sophomore release is Dirt is almost universally overrated and I cannot believe it has received such acclaim. Many of Dirt’s songs have received extensive radio airplay like Them Bones, Rooster, and Would? Dirt is a mix between the slow gloomy doom of 70’s Black Sabbath and the more modern early 90’s alternative grunge scene. Alice in Chains outlook on Dirt is very dark and bleak owing most likely to Layne Staley’s drug induced lyrics.

The songs range from up-tempo groove metal numbers to the mainly mid/slow tempo grungy doom metal numbers with a lot of focus on strong atmosphere. Dirt’s production is done well placing each instrument clearly in the mix. As said above Dirt’s atmosphere is extremely important to each songs identity, giving a dark foreboding helpless feel to every song. Dirt has a very melodic edge to it mainly on the more epic numbers like Rain When I Die, Rooster, and the title track Dirt. Power chords and eerie held notes make Dirt simplistic and very minimalistic in terms of songwriting and complexity (guitar solos are rare and usually melodic).

Layne Staley’s vocals are solid mainly focusing on a mid-range grungy voice reminiscent of Nirvana’s Kurt Cobain minus the annoying quality. Jerry Cantrell guitar work for the most part is either of solid or filler quality and he provides effective background vocals. Mike Starr’s bass guitar is audible for most of the record and really adds a big deal to Dirt’s overall heaviness. Sean Kinney drum work is solid and just enough to pass closer inspection but far from evolutionary or excellent. Overall the band members contributions while mainly solid could have been much improved upon and far less restrained.

Dirt has many factors and elements that weaken the overall quality and entertainment value of its songs. Many of Dirt’s songs are overextended and are very repetitive especially on the choruses. Dirt is too long just barely missing the hour mark and too many songs are present. Dirt could have been reduced to 9 or 10 songs and to 45 minutes in overall length for a much more effective impact. Iron Gland is under a minute and serves no purpose besides adding another track to the album (Tom Araya from Slayer quest vocals and he should be ashamed of his participation on this song) Dirt’s material is far from original and has been done before and after much better in terms if quality.

Dirt is overall a below average album and could have been done much better. Dirt seems to be given so much credit because of its high rate of singles appearing on rock radios around the country. Best songs are Them Bones, Rooster, Dirt, and Would? I recommend this album only to fans of grunge rock and alternative metal anyone else please stay away.

-10 points restrained and minimalistic approach to songwriting
-10 points overextended songs that are very repetitive especially on the choruses
-5 points overall length of Dirt and its songs is too long
-3 points Iron Gland serves no purpose besides as a filler track
-3 points Dirt’s material is unoriginal and has been done before much better

Listening to ‘Dirt’, especially for the first time, is an extraordinary event, chiefly because hearing it is like simultaneously experiencing two disparate and seemingly incompatible aspects of the grunge sound of the early 1990s; its apotheosis and its antithesis.

The apotheosis, or the embodiment of grunge, is found on ‘Dirt’ through Layne Staley’s forlorn, wounded, and utterly inimitable vocals on shoegazer call-to-arms ‘Would?’, through Mike Starr’s downbeat and lethargic basslines on ‘Rain When I Die’ and the downward-spiralling and plainly drug-induced rhythms of ‘Angry Chair.’ Such things are irrefutably straight from the Seattle book of alt. rock, and if that was all ‘Dirt’ was composited of, this would be a very different work indeed.
The antithesis, meanwhile, is what provides the album with its wholly unique flavour. Absent are the unmotivated punkish power chords loved by the likes of L7 or Nirvana, and in its place we find the driving (or to be more precise, bulldozing) monstrous riff on album centrepiece ‘Them Bones’, and alongside it the crunching chugging and wailing lead work of the anthemic ‘Dam That River’, all of it complimented by the paranoid schizophrenia of ‘God Smack.’ Hell, Tom Araya of THAT band even rears his head to swiftly contribute to hidden track ‘Iron Gland.’

These two polar opposites are forced by the four-man group to collide headlong, and the result is an album that is as epically maudlin as it is stompingly heavy, as though you have been deposited in an alternate dimension where Judas Priest had emerged from Seattle, USA rather than Birmingham, England. Unlikely bedfellows they may indeed seem, but the shotgun marriage has in this instance worked sublimely, and the fact that AIC even had the gall to weld on some high-flying choruses and lead passages, ranking amongst them amongst the best metal anthems around, is a testament to the band’s skill and the will to force a cobwebbed genre forward.

‘Dirt’ is certainly no thrasher of a record, and it isn’t the disc one should purchase to feel wild experimentation sweep them away in a flurry of fretboard dancing; the person listening to it to hear the last word in extreme speed is advised to pull his headphones off sharpish.
What it IS, fellow metalheads, is one of the boldest and most brazenly successful reconciliations between supposedly implacable musical opponents. As fantastically heavy as its historical renown among metal fans belies, ‘Dirt’ is a stone-cold monstrous landmark in alternative music’s history, and a classic in every sense possible.

The highly acclaimed sophomore effort from established Seattleite grungers Alice in Chains is the album with which the band is most often associated. Simply entitled “Dirt,” this would be the one that would launch them into superstardom. All things considered, it’s probably their weakest overall effort, but the fact that it still rules should be proof enough of this band’s high level of consistency.

First things first, “Dirt” is damned heavy. Soundgarden, Nirvana, Mudhoney: none of them ever sounded like this. Actually, I’d even go so far as to say it’s heavier than Metallica’s Black Album, also released in 1992. The sound on “Dirt” is absolutely enveloping: it’s powerful, bass-heavy, and crushing. Not to mention bleak: these guys haven’t cheered up a bit from “Facelift.” Crunchy numbers like “Them Bones,” “Sickman,” and “Rooster” reek of cynicism and depression while pummeling the listener’s face with riffs. There’s still a strong psychedelic influence at play as well. Layne Staley’s somber vocals cruise with Jerry Cantrell’s dark Hendrix-inspired style of guitar playing and Mike Starr’s bluesy bass like a Cadillac on a long desert road. It’s a rough, dirty ride, yet surprisingly comfortable. The engine is Sean Kinney’s percussive accompaniment of course, as it’s his unique style that maintains the album’s sinister groove.

But even though Alice In Chains excels at heavy riffing, they are at their best when they’re in mellow territory. Depressing tunes like “Down In A Hole” and “Rain When I Die” are their trademark, though these kinds of songs wouldn’t appear more abundantly until later in their career.

Again, this is not Alice in Chains’ best work. But with killer songs like “Dirt” and “Would?” in tow, I wouldn’t blame you for thinking otherwise. Recommended, along with the rest of their material.


Originally written for: http://www.metal-observer.com

Alice in Chains' 1992 album, "Dirt," came out at the perfect time. Self-pity was just taking hold as not only the popular emotion, but was almost forced into kids by a generation of adults once again trying, and failing, to understand what goes on in a teenager's mind. Due to the media's obsession with catering to teens' mood swings, not to mention a certain fascination with the return of garage-band mentality, Seattle's music scene was pushed to the forefront, with constant airplay on all rock stations.

Yet "Dirt" succeeds where every single other album of that scene failed. While "Dirt" wasn't the only depressing album released from that movement or even that year, it was the only album that successfully conveys the emotion that is expressed through the lyrics. Many of the lyrics deal with the idea of death. It's not as if Alice in Chains was the first band to explore the subject; the second half Judas Priest's "Stained Class" dealt with dying, while all of Metallica's "Ride the Lightning" was about different ways of dying. Both bands pulled it off surprisingly well, given the stereotype of metal lyrics having the intelligence of a screen door. But what separates "Dirt" from those two albums is the angle that death is approached. Instead of lyrics about killing others or being killed by others, "Dirt" paints death as a relief from all the problems that the world has to offer. Metallica's "Fade to Black" did a fine job approaching the subject, but it merely scratched the surface of the idea of suicide. "Dirt" digs deep into the mind of a human who believes that he has nothing to live for.

Layne Staley's conflict with suicidal thoughts is prevalent, and adds credibility to a subject that has been overdone in today's watered-down musical climate. Instead of wanting suicide as a way to lash out at the fact that he can't get a girlfriend, he seeks suicide as a relief from the stresses of touring, stardom, and most of all, the lows that are synonymous with frequent heroin use. At times he seems trapped by emotions that he cannot control:

"I'd like to fly
But my wings have been so denied"

Other times he described suicide as a way to get his detractors to take him seriously:

"I Want To Taste Dirty, A Stinging Pistol
In My Mouth, On My Tongue
I Want You To Scrape Me From The Walls
And Go Crazy Like You've Made Me"

Even at its most upbeat, (Junkhead), Staley seems to nonchalantly accept that his addiction will lead to his undoing; almost as if he could see his demise that would occur nine years later. The only song that steers clear of this mood, at least lyrically, is "Rooster;" a rock radio staple that still receives airplay to this day. The lyrical content makes it stick out like a sore thumb, but the minor-key chords are still present, along with the Staley/Cantrell harmonizing that gave this band such a distinctive sound.

This harmonizing between the two anchors the album, making the choruses all the more powerful, yet also ready for frequent airplay on the radio. The title track, "Angry Chair," and especially closer "Would?" are the best examples of these harmonies, but nearly every song features the two singing together at some point. And when they aren't singing, Jerry Cantrell lets loose simple, distorted riffs which are surprisingly effective at keeping the choruses in their place. That Middle-Eastern sounding riff in the title track? Amazing. Without the music being this strong, the lyrics would be easily overlooked. To the casual listener, the differences between this and any other CD circulating around would barely be noticeable, other than the fact that these lyrics don't suck. Musical credibility must be established before lyrics can be dissected and admired.

Any experienced metalhead would be likely to dismiss this based on the album's chart success. Most likely the majority of the kids that bought this album were impressed by the album's well-polished sheen that is given off, especially by the songs that received time on the radio as singles. Like any other pop album in their collection, this CD or tape was in and out of their players in less than a year, if not six months. Yet closer scrutiny reveals that this album's foundation that it was built upon is much stronger than several listens through would suggest. Staley does not seek pity when he sings, Cantrell does not seek respect when he plays his guitar. Yet each earns it regardless of their intentions.

The only time this album falters is when it gets too superficial for its own good. "Sickman" and "Hate to Feel" are pure filler and "Godsmack" defines mediocrity; how humorous that such a mediocre band would choose that song as their namesake. Of course, these missteps barely hurt the album and are easily skipped.

"Dirt" stands out from the thousands of albums released in this genre (and yes, this is metal, not grunge) because an overdone subject is approached in a mature manner that does not force the listener to pay attention; instead subtly calling upon the listener to feel the words, and as a result the listener experiences the pain through Staley. The atmosphere that surrounds this album is much more convincing than anything else released in that time period.

It can be clearly stated that 1992 was not a good year in the realm of music, and a good deal of it is owed to the severe lack of perspective on the part of those trying to define its direction. Everyone was under the rather ridiculous perception that something new and original was happening at the time, but despite what the masses believe and what their intellectual leaders told them, there was nothing that happened from 1992 to 1996 that had not already been explored between the years 1970 and 1975.

As I had stated in my reviews of Pantera’s 1990s albums, everyone was trying to resurrect the spirit of rock/metal by digging into the past. The recording companies were looking for a Birmingham in the United States, the fans were looking for a Black Sabbath minus the religious connotations that defined their image (not due to the intent of the band), and bands were looking for something new and progressive to explore. The problem is that you don’t get anything new, original, or progressive by dwelling upon the past. When one looks to the past for ideas, that is one thing, but when someone tries intentionally to recreate a moment in history one does not progress. Minus the nihilistic punk rock of Nirvana and a few others, Alternative Rock was nothing more than Black Sabbath dressed in flannels and specialized only in the dark and depressing realm of their more doom inspired music.

Having said that, this does not mean to suggest that this album is bad by any standard, it was actually the most accurate depiction of how Black Sabbath was ahead of it’s time. But what it does mean is that a group of 4 gifted musicians paying homage to the god-fathers of Metal defined an entire scene, and the result was a large collection of sub-standard bands that had no musical direction and no actual identity of their own. The copy of a copy, as they say, lacks a true link to the original, and eventually the result is the extinction of the spirit of the source.

This album caters to one side of Sabbath in terms of lyrics, and that is the most morose and depressing side of them that was on display on tracks such as “Hand of Doom”, “Killing Yourself to Live”, and “Into the Void”. Drugs are the primary theme, filling the lyrics with disturbing images of self-hatred and insecurity that almost make you want to pity the lyricist. And when not dealing with the subject of drugs, we see everything else stream from Sabbath as well. The rather touching story present in “Rooster” of a soldier in a war sounding a bit similar to Vietnam have been told, though perhaps in a less personal form, on “War Pigs”, “Electric Funeral”, “Wicked World”, and a few others though not from the 1st person point of view.

The music follows suit from the lyrics, as with a band that truly wants to be consistent will write equally morose sounds to match their words. “Them Bones”, “Would” and “Down in a Hole” are probably among the more original sounding tracks on here, though they still contain the overly dark imagery common to the other songs. They have a very dense atmosphere to them, especially considering that there are only 4 musicians in the group, although this was also the case with Sabbath. “Rooster” has a similar atmosphere to it, but differs in that it’s a bit under-developed and overlong.

“Dirt”, “God Smack” and “Junkhead” are pure stylistic rip-offs from Black Sabbath’s pioneering work in the doom department, meshed with their tendency to vary sections in a sometimes abrupt manner. I’m sorry, this will probably piss a lot of people off, but I’ve listened to this album all the way through dozens of times and that is exactly what I hear. On “God Smack”, in particular, the vocals tend to sound almost exactly like Ozzy’s rather agitated and tonally sloppy sound on Sabbath’s earlier work. Jerry Cantrell’s solos strongly reflect Iommi’s tendency to keep it short and heavily reliant on patterns and musical motives. “Iron Gland” sounds almost like a silly spoof of the beginning of “Iron Man”, and segues straight into the rather uninspired “Hate to Feel”, containing another set of spooky riffs borrowed from the Iommi collection of variations.

The remaining songs on here are more of the same, Sabbath worship with an emphasis on the dark side. Of them, if I had to pick a favorite it would be “Angry Chair” as it has a nicely distinctive riff, though we couldn’t get away from sounding like Sabbath here either. One of the better solos is on this one too. It’s a bit short, but it gets the job done in a song that is pretty much dominated by minimalist riffs.

In conclusion, this album will probably find a home amongst Black Sabbath fans, although core fans will obviously not be taken in by it as they will only accept the original rather than a second hand version of the music they love. Fans of the heavier mainstream metal of 1998-1990 will also like this as it still has moments where it passes for the same heavy style that bands like Saigon Kick, Soundgarden and Extreme would often exhibit in their heavier tracks. It’s a good album, it just isn’t as great as everyone is making it out to be.

Alice In Chains... very possibly the most unknown band from the grunge scene, to people who don't listen to rock. But if you've listened to rock radio, you've probably heard this band dozens of times, and this album is the reason. Here present is the classic line-up (say what you will, but Mike Starr is by far their best bassist), who start off right from the get go to pummel you into submission with heavy riffing and awe-inspiring lyrics. Though many an album by this band is excellent, "Dirt" remains the definitive one. Maybe it's 'cause HALF their best known singles appear here. Ah well, let us proceed.

As I said before, the album begins furiously, with "Them Bones". Morose, longing and morbid, Jerry and Layne's gloomy song of mortality is like a harsh wind, keeping up with the chugging pace of the guitar work. Also present are two blistering guitar solos, providing even more power to the behemoth song. From that song's conclusion, you know you're in for a wild ride.

Overall, the band provide a wonderful balance between melody, technique, and raw power. "Dam That River" is a bitter song of rejection, failure, and addiction. "Rain When I Die", beginning with Jerry's haunting guitar intro for me remains the perfect unknown song from the album, featuring the duo's best singing on the album in my book. Then, the more fan-familiar "Down In A Hole" and "Rooster" bring it through again. None of the songs appear to be speeding up, but rather, becoming more and more droning. But it's the dark, heaviness of these tracks that make them so wonderful.

Side 1 (Or up to Rooster for the CD users), leaves no doubt to the band's delivery. But, torward this end, they start to waver. "Godsmack", "Hate To Feel" and "Junkhead" seem uncoordinated, compared to the intensity of all the prior songs. Riffs will be heavy, but vocals will be really sloppy and wavery, or they'll be too light and the vocals... a little too polished. They aren't bad mind you, just... possibly unfinished?

What revives the album from this stumble is the infamous "Angry Chair". Here, the riffs, the melodies, and the lyrics all compliment each other, giving an almost vicious air. Concluding this comes "Would?", a song that though not recorded along with the rest of the album, captures the vibe of the first side, taking it suddenly up-tempo. On each of the verses, the haunting dual attack of the Stayley/Cantrell team just takes you away.

So in conclusion, this album solidifies AiC's quality as a band. However, a few of it's weaknesses get thrown into a more vivid light. The album removes any of it's failures, but takes quite a while to get there. The band's variety is limited, so new converts may not take to it instantly. So if discouraged, listen the album through once or twice. Certain songs do grow on you. And of course, the fans will hardly be dissappointed.

Dirt by Alice In Chains is, without a doubt, an interesting piece of popular American music history. This is when bands from the gloom n’ rain state of Seattle reigned supreme in American music during the early 90’s spearheaded by Nirvana, Soundgarden, Pearl Jam, and Mudhoney, with their brand of Sab-inspired, moody riffs and tons of Gen-X-isms appeal. And then, there was Alice In Chains.

They stuck out like a sore thumb in the scene, because unlike other bands, and disregarding Cobain’s suicide, they bore the gift of suffering in Layne Staley’s drug addiction, which eventually led them to spiral down into obscurity, and Staley’s death years after. Whereas some artists swoon over listeners with their uplifting sound inspired by their drug consumption, Dirt makes sickened emotions and dejected feelings drawn from drug use painfully unsettling.

The band takes us to a harrowing journey with every song, giving us glimpses of a man’s tortured soul, where his addiction becomes tangible with every howl he musters, and Jerry Cantrell’s talent for crafting distinct guitar shapes and strange melodies. In ‘Sickman’, the occasional drug-induced portion before the chorus throws off the listener into this hallucinated, drugged state, before bringing them back into the reality of its damning effects with a heavy lurching dirge. The dejected mood resurfaces once again, as the harmonized vocals above the clean part creates this menacing wall of confusing drawn from the disturbing atonal voices. The muddy and quick-sand feeling that ‘Junkhead’ incites further attests to the disconcerting content of the album. ‘Dirt’ is where Staley bares himself and confesses his dejected state. It is clearly one of the most painful tracks crafted by any band, where the lyrics are self-defecating and the exotic tinge makes the message of the song more brooding.

Despite these songs, there is a fair mix of tuneful and potently strong tracks amidst the muddle. ‘Them Bones’ and ‘Dam That River’ are chugging classics with mixes the band’s heavy edge with mainstream elements and catchy vocal performances. ‘Rooster’ is a touching ode to Jerry Cantrell’s father who fought in Vietnam. Another slow number, ‘Down in a Hole’ becomes some sort of a statement for this album, where Staley’s desire to escape his addiction drags him back even deeper, perfectly captured by the beautiful lyrics. ‘Would?’ is another sterling track with a catchy hook and pop sensibilities.

In the end, it is disheartening that such a talented band is made great by the adherent use of illegal drugs. Dirt wound up becoming one of the best albums of its genre. Unfortunately, it is not only the album, let alone their music, that the band would be remembered for.