The roots of
Electric
lay in another album entirely, Peace, which was recorded with
Love
producer
Steve Brown
in a series of sessions that the band found increasingly pressure-filled and fraught with tension. A chance meeting with
Def Jam
supremo
Rick Rubin
at an American awards ceremony turned out to be the charm, resulting in the saucy chest-baring stomp of
.
Rubin
chucked all the old recordings for a series of new sessions, stripping everything down and essentially transforming
Billy Duffy
into the logical successor to
AC/DC
's
Angus Young
. Thankfully
Ian Astbury
decided not to become
Brian Johnson
, and while his macho yells can't help being cartoonish, he's clearly having fun throughout. Though both band and album caught a lot of flak for their perceived wallowing in dinosaur sounds and styles, the end result is still a fist-punching yelp of energy that demands to be heard at maximum volume in arenas, with a brusque punch in
Les Warner
's drums to match
Duffy
's power-chord action.
"Love Removal Machine"
is still the album's calling card, another in the series of instantly catchy
Cult
singles.
"Li'l Devil"
is almost as worthy, while other cuts like
"Wild Flower"
and
"King Contrary Man"
would have sounded good in 1973 and sound just as good in a new century. There are a couple of missteps --
"Peace Dog"
starts good but ends up being what happens when
the Doors
are used as a model in the wrong way, while the version of the
Steppenwolf
classic
"Born to Be Wild"
should be taken out and shot. Otherwise, an enjoyable pleasure from start to finish -- even if
Astbury
sings "plastic fantastic lobster telephone" at one point. ~ Ned Raggett