I wonder where that sense went when they went to record Sonic Temple and Ceremony;
Sonic temple was Bob Rock, doing what Bob Rock does best, and given that at the time Sonic Temple was a massive success it makes sense that the pressure was on the next guy to repeat the formula. But I guess he had no chance as the band were falling apart at the time, Jamie and Matt had quit and Ian and Billy were barely talking. Ceremony also suffered from being completely at odds with the grunge zeitgeist of its time. I don't think it's entirely without merit tho, their inherent songwriting ability shines through on Bangkok Rain and Sweet Soul Sister.
I saw both tours and live the comparisons were similar: on the Sonic Temple tour they were triumphant young gods ready to take the crown as the new Led Zeppelin, by the Ceremony tour Ian was a shambling drunk, Billy had let the guitar hero ego take him over and the new rhythm section were by the numbers Rawk without the inherent groove of Stewart/Sorum.
(self titled; with that black goat on the cover) which was an amazing return to Love era guitar work (but tasteful again) melded with modern rhythm section and even some industrial elements. The lyrics got better too. ...
I was lucky enough to get to spend an afternoon chatting with Billy a few years ago and he was amazed when I told him that the Black Sheep Album was my favourite album, he was under the impression that the only people who liked it were them. It was a deeply personal Album that they at the time they saw as being their swan song. They were making it purely for themselves without any attempt at commercial success. Its ironic that its the only Bob Rock album that doesn't sound like a Bob Rock album, yet its one that he had more input into than any other. It was written at his house, and recorded in his home studio set up, and the songwriting process (according to Billy ) was centered around his private guitar collection. each song was written/inspired by and recorded with a different one of his vintage/classic guitars.(I'd love to know which was which, all I remember is that Billy said that that was the first time he'd ever clicked with a fender - a vintage telecaster)
The tour on that album was also their finest hour live, Ive seen them on every tour since Dreamtime and that was the best Cult gig Ive ever been to or heard. The combination of playing smaller more intimate venues, and the nothing to lose attitude was nothing short of brilliant, it would definitely be in my all time top 5 gigs. Of course this was also helped by the return of Sorum, and the addition of Craig Adams on bass.
Although the Cult were my first love musically, Craig Adams was my first inspiration bass wise so having my favourite bass player join my favourite band was manna from the gods to the young me.
I know many 'die hard' fans have little love for Electric (I felt outnumbered on that point), and when the first attempt at those songs (Peace aka The Manor Sessions) came out many of them felt vindicated because they thought it was Love all over again, but I was thought it sucked (and Love is my fave record of theirs). It seems that Rick Rubin saved them from themselves on that one
I'm with you on that one, Love is one of my favourites but Electric is probably the most shining example of brash , unabashed hip swinging metal(not released by AC/DC) that there is. I like the Peace album, but enjoy it as I would a cover album. its interesting to hear the songs interpreted differently, some work, some do not