Jane’s Addiction overpowered what made up the alternative music scene in the late '80s and early '90s with narcotic-driven, balls-to-the-wall live performances. During their heyday, they released what are inarguably some of the most influential rock albums and the group’s singer, Perry Farrell, uniquely affixed himself as one of the most exciting, oddly intriguing front men in music.
Despite their musical impact and success, the band was known just as well for its intergroup squabbling. Jane’s Addiction broke up in 1991. Farrell went on to form the spectacular Porno for Pyros while guitarist Dave Navarro found a short lived gig playing guitar for the Red Hot Chili Peppers, a lackluster solo record and an MTV reality show with then wife Carmen Electra.
Since their last effort and subsequent breakup post 2003’s “Strays,” Farrell and the boys got back together to record “The Great Escape Artist.” The record is minus original bassist Eric Avery, but the alt-psych rockers received help from other friends to fill in the gaps. Dave Sitek, multi-instrumentalist for TV on the Radio, Duff McKagen, former Guns N’ Roses bassist and Rich Costey, who has produced albums for bands such as Muse and Interpol, all lent a hand in the creative sculpting.
“The Great Escape Artist” isn’t a bad record but it’s nothing exceptional. The abstract primal energy that made Jane’s Addiction so impressive is missing but it seems recreating that sound wasn’t exactly part of the plan. Everything from the album’s title to the group of outside collaborators is an obvious sign that the band’s intentions were to move things in a different direction.
“End to the Lies” was the first single released from “The Great Escape Artist.” It’s clearly the high point of the record concerning heavy-hitters. Farrell takes vague lyrical aim in the song at haters, backstabbers and what he has described as a “composite of a--holes.” The chorus ignites in what has become a trend in true atmospheric stadium rock fashion as Farrell sings, “You never really change like they say / You only become more like yourself.”
One of the more interesting moments in the record comes by way of “Broken People,” which appears to cover splintered lifestyles of Hollywood and other famous-for-being-famous failures. As Perry sings, “Welcome to the aching world,” the talk of “home-sex videos,” evil girls and a classy sister conjures up the image of a particular blonde hotel heiress.
Given the band’s disjointed past, the outcome isn’t all that surprising, but it is a bit disappointing. It’s unfair to strictly compare artists’ previous work with their current output or expect rehashed attempts at the good old days — especially given the profound effect Jane’s Addiction has had on alternative music. But it only takes one listen through the band’s compilation album “Kettle Whistle” to remind you what they were capable of.
Reach the reporter at tebrook1@asu.edu
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