The shamefully underrated Dead Boys are one of the seminal bands of the first wave of American Punk. The Dead Boys are perhaps remembered by a vast majority of the general population for Guns N Roses' 1993 cover of "Ain't It Fun" off their second LP "We Have Come for Your Children". However Dead Boys deserve much more thought and respect than that. Let's take a look at " Young Loud and Snotty".
Opener "Sonic Reducer" is perhaps the closest Dead Boys get to the origins of American Punk. The influence of Mr. Osterberg can be heard all over the track, and the song sounds like the musical equivalent of a powder keg ready to blow. Think of "Raw Power" era Stooges and you'll get the idea, classic track. "All This and More" is just plain classic Punk rock; nothing more, nothing less. Late singer Stiv Bator shows off his trademark snarl; a cross between Johnny Rotten with a dash of Detroit strut a la the MC5 and Stooges. The song shows that unlike the U.K. Punk movement; America was retaining a much more direct link to traditional Rock 'n' roll. Hands claps and Stones-like guitar riffs were hardly be accepted in among U.K. purists at the time. The Dead Boys were first and foremost a Punk band; but incorporated many traditional elements of Rock.
The Stooges-like rapid fire assault continues with "What Love Is". The sexually charged song could be considered to be offensive by some. The song contains numerous references to violent sexual and physical assaults on women; and was initially met with controversy upon release. Despite the heavy content; the song rolls along like a locomotive, showing the sheer muscle of the bands rhythm section. Like the majority of songs on this album; "What Love Is" contains an extremely short but frantic guitar solo by hotshot Punk guitarist Cheetah Chrome of Rocket from the Tombs fame. "Not Anymore" shows the band evolving past plain Punk rock. The song is well over three minutes; and contains more intricate and traditional Rock arrangements than most Punk at the time. The song is much slower than the rest of the album; and gives the listener a much needed rest from the high energy bursts of earlier tracks. The dual guitars provide a beefy sound; showing the power and force of this band.
"Ain't Nothin To Do" takes the band back into Stooges territory. Heavily distorted vocals and an amphetamine paced rhythm shows the band positively frothing at the mouth. Distorted slashes of metallic guitar sit atop Bator's bleak and nihilistic lyrics about boredom and angst. Raw Power indeed. "Caught With the Meat In Your Mouth" contains sordid tales of female promiscuity; discarding the usually progressive attitude towards female sexuality taken by many in the Punk world. The song adopts a tired and traditional Rock 'n' Roll rhythm; sounding somewhat out of place on collection. Not really a highlight for me.
"Hey Little Girl" was recorded live at the mecca of classic American Punk; CBGB. The song features a harmonica; a definite taboo in the Punk movement at the time. The song again shows the influence of the Rolling Stones on the band; incorporating more jangly guitars and blues-like lyrics and vocal style. Off course the song was not written by the band; so this explains the stark stylistic differences. "I Need Lunch" again shows off the sexual bravado of the young band; suggesting avoiding unnecessary courtship in favor of instant carnal gratification. Axel Rose clearly took influence from the band in terms of sexual aggression; and it often sounds as if Stiv Bators is ready to get what he wants sexually, even if he has to take it from the "bitch" he mentions. Several guitar solos again differentiate the song from most of the Punk movement; in addition to the slightly caveman lyrics. Nevertheless, a great song. "High Tension Wire" again shows the volatility of the band and vocalist Sitv Bators. Anxious, cagey, and downright hostile; the lyrics would not sound out of place in the world of Heavy Metal. The guitars barely follow any sense of structure later in the song; all over the place and soloing throughout most of the middle portion of the song. The music reflects the mental cloudiness of Bators lyrical landscape. Interesting song; showing the raw emotional aggression of the band. "Down In Flames" is the closest the band gets to hardcore Punk; with a grunting aggression not unlike one Henry Rollins. The song repeats lyrics containing the words "Dead Boys" several times; sounding almost like an anthem of destruction for the short-lived band. The guitar solo is extremely bizarre; sounding not totally unlike a red-alert alarm, utilizing a unique style of pseudo guitar "tapping". The album closes with a medley of "Ain't Nothin To Do/Not Anymore", curious but interesting reprises of earlier tracks.
"Young Loud and Snotty" is by no means the best American Punk album; but it is certainly memorable and highly influential. Purists will surely scoff at several deviations from Punk rock style and musicality; but I believe that these influences actually give the band a diversity and range not found in many other early American Punk bands. Overall, a near-classic with a few blemishes. Worth a listen.
Rating-7.5/10
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