Blog Post
RATT - THE ATLANTIC YEARS 1984-1990 BOX SET
Laura DQ • Jun 08, 2023
When RATT emerged ‘Out of the Cellar’ in 1984 with their studio debut, they arrived fully formed, with a signature sound that would define the rock music of the decade. Bolstered by three stellar singles that received heavy rotation on MTV, listeners were captivated by a band who looked good and sounded better. ‘Round and Round’, ‘Back for More’ and ‘Wanted Man’ remain impossibly catchy, boasting bigger hooks that most of their contemporaries could dream of. Stephen Pearcy’s uniquely sleazy vocals, coupled with the impressive guitar work of Warren DeMartini and Robbin Crosby prove an irresistible combination. Heavier than many of their hair metal peers, the staccato riffing of ‘Lack of Communication’ is reminiscent of Judas Priest and the propulsive ‘She Wants Money’ never pauses for breath. Still widely regarded as the band’s finest work, RATT would never better the triple platinum success of their debut, but to ignore the rest of the catalogue would be foolish, as the new ‘Atlantic Years’ box set demonstrates. Included are the band’s first five albums, on your choice of CD or 180g black vinyl. But, of course, it’s the vinyl collection where the treasure really lies; in addition to the music, you’ll get a replica tour book, poster, bumper sticker, replica backstage pass, guitar pick and, best of all, a rare ‘Nobody Rides for Free’ 7” single.
So, about those other albums… Originally released in 1985, ‘Invasion of Your Privacy’ feels very much a continuation of the debut, from the cover adorned with a seductive looking lady, to the catchy hard rock housed within. ‘You’re in Love’ sets the tone and feels a little edgier than anything before, almost dangerous; there’s a menace to the choppy riff that draws you in. ‘Lay it Down’ is another commanding single, ‘Closer to my Heart’ an unexpected change of pace, and yet, not quite a ballad. ‘You Should Know By Now’ is pure joy, an anthemic track with an insistent chorus made to be shouted out loud. ‘Dangerous But Worth the Risk’ closes out an album that is arguably a little stronger than its predecessor.
Listening to ‘Dancing Undercover’ now, it feels like RATT were running out of ideas. An album notable for its brevity at just over 30 minutes, it’s not that the songs are bad, it’s just that there’s nothing particularly new. ‘Dance’ and ‘One Good Lover’ have an immediate familiarity, but lack the bite of earlier efforts. There’s still plenty to enjoy in the undeniable pop hooks of ‘Slip of the Lip’ and ‘Body Talk’ but it’s unlikely his will be the album you’ll want to pay repeated visits. The strutting ‘7th Avenue’ is a bit of an overlooked gem though, and proof that RATT still had more to offer.
To look at the cover of ‘Reach for the Sky’, you might expect a bit of a sonic departure, but opener ‘City to City’ quickly dispels any concerns. This is classic RATT, albeit with a little more filler than you might remember from earlier releases. The album has its moments; ‘I Want a Woman’ is pure pop but works well; after all, RATT were never a band to shy away from a big chorus. The bluesy ‘Way Cool Jr.’ really swaggers and the addition of a horn section brings a little diversity to a band sometimes guilty of sticking to what they know. But ‘Reach for the Sky’ trails off a little in the second half, the likes of ‘No Surprise’ and ‘What’s It Gonna Be’ are solid enough but largely forgettable.
‘Detonator’ deserves more love than it gets. Often overlooked and selling significantly less than any previous album, it marks the first time RATT employed external songwriters. But Desmond Child is pretty good at what he does, and just as he seemingly gave Aerosmith a little extra commercial gloss (admittedly with a lot more success), so he does for RATT. Yes, they don’t sound quite as dangerous as on their earlier records, but they’re no less seductive. Huge choruses are abundant, from the opening ‘Shame Shame Shame’ through ‘Scratch that Itch’. Best of all is ‘Lovin’ You’s a Dirty Job’, the aural equivalent of a leering glance, Pearcy’s sneering vocal just perfect for the subject matter. ‘All or Nothing’ really grooves, the slinky riff underpinned by Juan Croucier’s throbbing bass and Bobby Blotzer’s pulsing drum beat. There’s even a proper power ballad in the form of ‘Givin’ Yourself Away’, I’ll let you decide if that’s good news.
‘The Atlantic Years’ is the perfect introduction to a band who tend to be overshadowed by another group from Los Angeles. Yes, Mötley Crüe have fared better with the passing of the years but there was a time when RATT gave them a run for their money. Crank this loud and get ready to RATT and roll!