That's nuts to me.

I mean I copped Hysteria on cassette at the tape store by the boardwalk one summer in AC when I was 11 off 'Pour Some Sugar On Me' & knowing they were the guys who did 'Rock Of Ages' prior.

And you cite overplay but what's more overplayed than 'Pour Some Sugar On Me'? Hearing that song gives me the same douche-chill 'Living On A Prayer' does nowadays. I will never get that from 'Sweet Child O' Mine', perhaps because it feels like there's some actual real human emotion/soul put into it rather than this cyborg-pep-rally-anthem.

I liked Hysteria then as kid but I'd be embarrassed to listen to that slick shit, with each instrument bit being so segmented/chopped you can tell they were never even in the studio at the same time, ridiculous lyrics, rock-choir-chorus affectations & just overall cheese.

That being said, I still have a soft spot for the title track (that's a tight little groove there & Elliot sounds good on it) and maybe a moment here or there otherwise (I really haven't listened to this album full through since cassette) but that album felt like a lab experiment.

As for The Cult, they were cool, 'She Sells Sanctuary' was amazing to me when I first heard it & still holds up.

But they're a band I'd go to for a song here or there or a certain aesthetic more than a band whose albums belong in the cannon.

Ian Astbury kinda reminds me of his era's version of Paul Rodgers, he was a great rock singer but missing that element that makes you actually give a shit about them as even a persona let alone as a person/artist.

Much like The Doors found out trying to later use Astbury & even Scott Stapp to front their bullshit tours, for better or worse the singer does make/break the band.

And as far as rock frontmen go, Axl Rose & Joe Elliott aren't remotely in the same stratosphere.