Ritual De Lo Habitual

Submitted by Lesley on 20 February 2017 - 3:37pm

Cover:

Artist:

Jane’s Addiction

album-ID:

a_189

Nationality:

USA

Year:

1 990

Release-year:

0000

Num-of-tracks:

Track-listing:

Stop!*No One’s Leaving*Ain’t No Right*Obvious*Been Caught Stealing*Three Days*Then She Did...*Of Course*Classic Girl

Length-in-mins:

Nominator:

Bean

meeting-ID:

m_72

Now-num:

2 017

Spotify-URL:

2Jkbi83HTSfqEd0CBdYwpU

Short-title:

habitual

nominator-ID:

u_96

Meeting-date:

Tuesday, 21 February 2017

MusicBrainz-URL:

baeba3f5-a5aa-3e6e-944f-cca5374192e4

Wikipedia-URL:

Ritual_de_lo_habitual

Spotify-link-type:

album

Discogs-URL:

Janes-Addiction-Ritual-De-Lo-Habitual/master/32082

Allmusic-URL:

ritual-de-lo-habitual-mw0000314645

Musixmatch-URL:

Jane-s-Addiction/Ritual-de-lo-Habitual

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guest-list data

108

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117

reviewers-IDs data

-96-

-13-

-117-

-1-

-14-

73

reviewed by

Lesley

Still addicted to this classic album

1-6-9

I bought this album on vinyl in the summer of 1991 after seeing the 'Classic Girl' video on the TV show Raw Poer. I listened to it practically non-stop for a couple of years and then it was replaced with new albums and new bands and it was only last Christmas that I actually listened to the album again after 20 odd years and it was a pleasant suprise.I still think that this album holds its own after all those years. There were a lot of rock/metal/funk crossover bands emerging in the early 90s, bands like Faith No More and Mordred from the San Francisco Bay area. Jane’s Addiction came from Los Angeles (as did the Red Hot Chilli Peppers) and although Jane’s Addiction had elements of funk metal I think they were doing something very different from these other bands. It is an incredibly experimental album, combining rock and funk, but also jazz and punk and the storytelling aspects of folk music. There are so many elements to their music and listening to the album as a whole you become aware of the bits between the bits, the talking bits, the quieter bits. It has a haunting quality, particularly in ‘Three Days’, which even after all these years is still my favourite song. I love the fact that it is a beautiful poem with a raucous guitar solo in the middle. Although songs like ‘Been Caught Stealing’ now seem a little dated, I think the powerful opening song ‘Stop!’, and the incredible ‘Three Days’ and ‘Classic Girl’ make this a classic album and one that I won’t be waiting another 20 years to listen to again.
70

reviewed by

Neil Hornsey

1-2-4-6

Rather surprised at how decent this was, having assumed it was dreadful for most of my adult life. Three days is an epic psy-prog classic which brielfy enters Judas Priest territory, fine stuff. Predictably the most famous track, been caught stealing, is one of the tracks that for me lets down the album. It's as if the commercial tracks were what they throught they ought to do, whereas the tracks I liked are the style the actually wanted to do.
70

reviewed by

David Eastman

1-5-6

You can't really review this album clearly, as it was so much of it's time and place. It did not suddenly drop from the ether - it was part of the network of those west coast 90's bands that defined a decade of sound.

Taken on it's own, it appears a bit raucous - rather dry and screechy. But that is clearly intentional, portraying the very lack of grace that sounded modern then.

Better to focus on the standout songs that still retain value. Stop! has the punchy driving guitars but flowing tinny vocals that tie it together - and allow the uneven drum and chord breaks to tell a story of rushed decisions, city life an oncoming events. Been caught stealing with it's doggy chords repeats the high tempo story telling, but the perfection of that start is hard to repeat. Three Days trys to invert the dynamic - sumptious bass driven waves of sound, and sounds closest to other down tempo numbers of the time - Alice in Chains maybe.

Although the album is a natural part of the time, it still has an individual identity.
55

reviewed by

Glyn Lewis

1-5

2-4-7

I found it a bit difficult to criticise this objectively – there is variety in approach and pace, instruments come in and out, there are changes within songs, including injections of a more dancey feel, and there’s a shape to the album as a whole. I always knew it’s not my kind of thing but I feel a bit mean spirited trying to pick out the bits I don’t like, to try and explain my failure to warm to it. But the bottom line is I did find it a little irritating.

The sound is largely unrestrained, thrusting, in-your-face, crash and screech rock, so it's always going to have to do something special to win me over. The whole vibe of it, starting with the dreadful band name, I do find unappealing – a sort of whiney, brash, spoilt, naff, ugliness, which wouldn’t matter if there was something brave, brilliant or exciting that I could latch on to. The album moved towards longer, more ambitious songs in the last half but I didn't think overall that suited them as well as the shorter pieces in the first.

The last song, Classic Girl, I felt the singer was particularly exposed and that it was a bit difficult to listen to for me. It’d probably get corrected in the studio nowadays. Anyway, I've probably said too much already, so let me leave it there.
53

reviewed by

Richard Norbury