Brad Gillis

Tim’s Vinyl Confessions Ep. 687: Night Ranger Deep Dive #12 (High Road)

Please join Tim Durling and myself for this deep dive into Night Ranger’s fabulous 2014 album, High Road.  This is a really special CD to me, with some great tracks including the title song, “I’m Coming Home” and “Don’t Live Here Anymore.  Jack Blade, Brad Gillis, Kelly Keagy, Joel Hoekstra and Eric Levy really made a special album with this, and a pinnacle of the reunion era if you asked me.

Tim is doing this series of deep dives to celebrate his new book, Sing Me Away: The Night Ranger Album Review.  You can get it on your local Amazon and check out an analysis of every Night Ranger album from a panel of experts.  Including me!

Check out this episode of Tim’s Vinyl Confessions, which will premiere later today.

REVIEW: Night Ranger – ATBPO (2021)

NIGHT RANGER – ATBPO (2021 Frontiers)

Here we go with the third and final (to date) Night Ranger album gifted to me by Tim Durling.  ATBPO stands for And the Band Played On.  And play on they did, now with Keri Kelli on guitar after the departure of Joel Hoekstra, currently in Whitesnake.  Tim praises this album highly, so let’s find out why.

Some of the heaviest, slamming guitar I’ve heard from Night Ranger opens up the menacingly fun “Coming For You”.  For some reason I’m thinking of “Lost In America” by Alice Cooper.  This one is a grower.  It jumps out more listen after listen.  There are poker metaphors and a killer multi-part guitar solo!  Sounds absolutely wicked, modern and technical, like Steve Stevens on adrenaline.  It is quite possible that Brad Gillis is from outer space.

Second is “Bring It All Home To Me”, slowing the pace to a hard rock summer groove.  I mentioned to Tim, I was hearing some twang in Night Ranger on the High Road album.  I hear a teensy bit of that on the “baby, baby, baby” part of “Bring It All Home To Me”.  Tim will argue that I am hearing that because nu-country appropriated a lot of 80s hard rock, and there’s an association there.  Another bonkers solo here, making it two in a row for songs that fans of original guitar shred will want to hear.

More Gillis madness on the progressive sounding “Breakout”, bringing back the speed, but with a technical edge that few bands can really match.  Kelly Keagy’s nuts on the drums, and fretboards are burning on the solo.  This has to be one of the hardest Night Ranger songs to date.  Then, a boogie piano and a surprising cocaine reference opens “Hard to Make it Easy”, and I’m resisting saying the word ” country” again…but there it is.  This has line-dancing qualities.  Now I’m not meaning this in a bad way.  Night Ranger are allowed to stretch out and play stuff like this, and I won’t complain.  The chorus sounds like Shania…just sayin’…but the dual guitar solo is more Lizzy.

We go somewhere down the crazy river with the snaky opening guitars of “Can’t Afford a Hero”, which soon transitions to a standard acoustic ballad.  It would make a good Shaw-Blades track.  Good tune with, again, great solo work.  One of the more adventurous tunes.

“Cold As December” is a standout, with a powerful quality you can just pound your fist to.  It’s just all riff and all beef!  The guitar and vocals melodies are its strength.  Despite its edge, the melodies and hooks shine through.

An unfortunate “We Will Rock You” drum beat soon gives way to another good song, “Dance”, a power ballad with more power than ballad.  Really nice song.  “The Hardest Road” is also ballady, but Kelly Keagy’s lead vocal adds a ragged raspy edge that enhances it beyond.  Then the surprising “Monkey” kicks in with a serious beat.  This is the song that would sound best in the car when you’re on the highway.  Just non-stop stomp.

“A Lucky Man” is an album highlight, upbeat and bright, with a hint of that twang I keep hearing.  This would definitely sound great at camp or cottage in the summertime.  The keyboard and guitar solos are from the moon, which offsets the twang.  Another personal favourite, easy peasy.  Some tasty sweet guitar harmonies open up “Tomorrow”, another nice upbeat rocker with classy keyboard accents.

The closer is a “bonus track” (I ask why?) called “Savior”.  It’s a little…goofy?  I don’t know.  Everybody’s looking for a good time?  Sure.  I’ll agree with that.  Not sure about the song though.

Solid album, if a bit long:  3.5/5 stars.

 

REVIEW: Night Ranger – High Road (2014)

NIGHT RANGER – High Road (2014 Icarus Music)

This is the second of three Night Ranger albums given to me by Tim Durling, and the second I have reviewed “live” with him. It is also the second, and last album to feature Joel Hoekstra on guitar who was soon off to join Whitesnake, where he remains today.

The title track “High Road” opens with some highbrow keyboards and an immediate melody. There’s a nu-country vibe to the chorus, but Jack Blades keeps it in rock territory. Tim Durling says he hears Damn Yankees, and I get that too, but I do hear that twang. “No the **** you don’t,” says Tim. The Gillis guitar solo is absolutely mental, tickling all my fancies. Great song…even if I’m hearing something that isn’t there. Sounds like summer to me.

Per Tim: “Here’s the problem with “new country” – most of it is just 80s rock with a slight twang – therefore, when a band like Night Ranger that legit came from the 80s makes new music, and it’s not super heavy, it could easily slide into that…and I HATE THIS!” Me too buddy, and that’s probably what I’m hearing.

The opening guitar of “Knock Knock Never Stop” recalls “Poundcake”, but this track could have worked on a certain 1983 by a British band from Sheffield…perhaps it already did! That’s the ballpark we’re in. It’s a popular place. Heavier guitars roll in on the groover “Rollin’ On” which sounds like a Morse/Airey-era Deep Purple classic. Not a sound you hear often, so bring it on.

“Don’t Live Here Anymore” is the first slower tune, but it’s got blues in the vocal and passion in the soul. Amazing vocal, just right in the pocket with grit and heart. Perhaps there’s a Whitesnake vibe here. Coverdale could easily “coverversion” this song. Then suddenly it picks up, and we’re in a Rainbow riff, kicking asses and scorching minds. This wouldn’t be a ballad, but an epic — because suddenly here are the angelic Night Ranger harmonies. If that wasn’t enough…it’s solo time! Epic, just epic, in arrangement, performance, production, mix…head to toe epic. The centerpiece.

A fun guitar riff opens “I’m Coming Home”, and I’m getting light progressive vibes overall. This track rocks in an 80s way, but not simple or straightforward. There’s tension, release, and pounding melodies. Midway, Jack throws down a neat bassline, right before a ripping solo tears your head off.

“X Generation” continues the hammering vibes, but in a modern context. It’s the first song that is failing to connect. Nothing bad about it, just didn’t have the same impact as the previous five tunes. Sounds like a number of bands from the Night Ranger era, making it work in the 2000s. Skid Row with Sollinger on lead vocals, perhaps.

“Only For You Only” is a lovely piano ballad with Jack singing, something akin to what some people expect from Night Ranger. These guys can really sing and that’s what sells it. For some steam, check “Hang On”! Slow and grooving with keyboard accents and a chugging bass, this song is boiling hot. Killer tune, delivering the heaviness without having to go full bore. Solos that burn. Awesome sauce.

Then, the spirit of Eddie Van Halen comes to the house on the intro to “St. Bartholomew”, an absolutely scorching song, at Fahrenheit 451. Once again, the vocals make it uniquely Night Ranger. Other bands may attempt songs of this nature, but few have the combination of chops and vocals that Night Ranger has. Unique dual solo here too with Brad and Joel Hoekstra trading licks.

The “standard” track list shows 10 songs, with “Brothers” being an acoustic closer. Definite Shaw-Blades vibes here. Hippies singing in a field, with a guy playing an electric guitar with the sun blazing behind him…that’s what I see. As per Tim, “and anyone stepping within twenty feet of any of them gets a huge contact high.” They were definitely spinning “Hey Jude” before they wrote this ending.

Then we have the two “bonus tracks”, though we don’t know why! They do sound separate from the album because “Brothers” is an ideal closer. “L.A. No Name” is an acoustic workout, with the two guitarists playing a beautiful classical and Spanish influenced number that could have been a textbook workout for expert students! This is not lightweight, not by any stretch.

The last song is bonus track “Mountain Song” which really shows off Jack’s creativity as a writer of basslines. It has an “Eye of the Tiger” vibe, but far heavier and punchier. Tim: “It’s similar to “Halfway to the Sun” from 1988’s overlooked Man in Motion album.”

A solid 4/5 stars. The first “side” is stronger, but there’s nothing to skip.

REVIEW: Night Ranger – Big Life (1987)

NIGHT RANGER – Big Life (1987 MCA)

This CD was a gift from Tim Durling, and this review is simply a conversation with Tim Durling!

Tim:  Big Life might sound dated to you, it is very 1987 and possibly one of their mellowest albums. Of course I have a soft spot for it, but then I like the band.

Me:  That’s the one I’m popping in now actually.

Tim:  Your Big Life is a fancy 2009 remaster that I’d never seen before. The original was my very first CD back in 1990.

Me:  Oh jeez, it’s the album with “Secret Of My Success!”  Now I have two copies of that song…The booklet is nice, full lyrics.

Tim:  You can file that under guilty pleasure for me, I know it’s cheesy but “worlds collide, and hearts will be broken” damn it’s so catchy.

Me:  Wow, Blades’ name is on every single songwriting credit.

Tim:  Fun fact: there are two different covers, and I didn’t know that till I had Josh from Fans in Motion on my show.  Same band shot, but some copies have less stuff in the background. I love learning stuff like that.

Me:  Interesting. So somebody said “We need to add a spotlight and a wall” to some versions.

Me:  Wow this opening track is very…Umm…Faux-macho.  Sorry, not liking “Big Life” the track.  It’s like when Warrant tried to act tough on “We Will Rock You”.

Tim:  Doesn’t bode well, but I did say it will sound dated to you.  If you’re looking for a more typical catchy Night Ranger tune, I’d recommend “Carry On”, maybe my favourite on this album.

Me:  I’m gonna give it a fair shake.  This guitar solo is great. Gillis?

Tim:  Not always sure who does which solos, all I know is that if you hear crazy whammy bar, that’s Brad.

Me:  “Color of Your Smile” is better.  I like this one.  Very youthful lyric.

Tim:  Wow, I figured you’d hate it.

Me:  No,  there’s something here that reminds me of youthful summers.  Fuck, this is good. Didn’t see this dual solo coming.  OK, so we have a winner here on track 2, good tune.  If I had this as a kid, it would have been the song I played for girls to get them to like me.

Me:  “Love Is Standing Near” – starting well.

Tim:  That’s encouraging.

Me:  It’s the guitar that sets this band apart for me. Puts them a level up.

Tim:  Definitely one of their calling cards.

Me:  Now I’m on the David Foster produced song (“Secret Of My Success”) that we already know my opinion of.  I really hate it.

Tim:  I will accept that, frowning.  But I get it if you didn’t grow up with it.

Me:  It’s like they’re using the ZZ Top Afterburner book of samples

Tim:  With you there, way overboard on the bells and whistles.

Me:  “Carry On” is a little corny, but might grow on me.  Actually…love it…Very Bon Jovi to my ears, but better vocally.

Tim:  Probably why I like it, never made that connection.

Me:  “Better Let It Go” – I like the acoustic, don’t like the drum loops.

Tim:  “Better Let it Go” is a great faux-ballad, sabotaged by Fitz’s unfortunate decision to use the “French horn” patch similar to Don Henley’s “Sunset Grill”.

Me:  It was a thing. I never liked that kind of thing, but it was a thing.

Tim:  Get ready for the French horn patch.

Me:  Oh it’s like House of Lords French horn.  “Under Blue Skies”.   Yup, I hear it.

Tim:  Down at the sunset grill.

Me:  Marillion have some like this too.

Tim:  I have to say I was most apprehensive about your thoughts on this album, so not bad.

Me:  Well, I mean context is important, 1987 was peak synth.

Tim:  Yes.

Me:  Things got toned down in ’88, ’89, ’90 and then of course ’91 killed synth!  …This guitar solo is great.  Why are Gillis and Watson named more frequently on lists individually, rather than as a duo?  Just strikes me, these guys are absolutely up there with the great duos.

Me:  “I Know Tonight” is a little overwrought.

Tim:  Man, I can’t predict shit.

Me:  OK, now it’s kicking in.

Tim:  I thought you’d dig it.

Me:  Now it’s like “Turn On the Night” by Kiss.

Tim:  It is! Good comparison.

Me:  Yeah see this would have been kicking it in my stereo in 1987-88, IF ONLY MUCHMUSIC PLAYED THESE GUYS ON THE POWER HOUR. I never heard this music

Me:  Please tell me they’re not ending this album on a ballad.

Tim:  They’re ending this album on a ballad.

Me:  Ah damn.

3.5/5 stars

REVIEW: Ozzy Osbourne – Speak of the Devil / Talk of the Devil (1983)

 

OZZY OSBOURNE – Speak of the Devil (1983 Epic)

After Randy Rhoads died, Ozzy really seemed to have gone into a tailspin. He just seems to have been completely miserable at the time and he really tries to bury the albums he made in this period. Speak Of The Devil, a live album featuring Brad Gillis (Night Ranger) on guitar, was not even included on Ozzy’s 2002 reissue program and went out of print.

Ozzy owed his label a live album, and had actually recorded one too (Randy Rhoads Tribute).  With fresh wounds from the loss of Randy, Ozzy didn’t want to do a live album at all.    So a compromise instead; Speak of the Devil (Talk of the Devil overseas) consisted entirely of Black Sabbath songs.  At the same time, Sabbath was releasing their own double live album, Live Evil.  This direct competition poured fuel over an already volatile feud.

SPEAK OF THE DEVIL_0003I always hate to compare Ozzy’s versions of Sabbath songs with the originals. Ozzy’s have always sounded different because of the guitar players he’s chosen to use over the years. These Gillis versions are about as authentic as Ozzy’s been, until the fortuitous discovery of Zakk Wylde five years later.  Gillis is a flashier player than Iommi, but without Randy’s intricate classical bent.

You absolutely cannot argue with the track list (from the Ritz, in New York). This is Sabbath boiled down to its black core. These are the desert island songs, and I love that “Never Say Die” and “Symptom of the Universe” were included.  Through the classics, Ozzy sounds tremendously drunk.  Colossally smashed, not quite completely out of his fucking head yet, but close.  Still lucid, not yet totally annihilated.  His voice takes on an angry shade when he starts reminiscing about the the groupies at the old Fillmore East (“The Wizard”).  (Sounds like a naughty word was awkwardly edited of out this ramble, too.)

I do love a moment when, just before breaking into the aforementioned “Wizard”, Ozzy says to somebody (a roadie?) “Hey, what’s happenin’ man?”

The vocals sound like they’ve been sweetened in the studio.  They’ve been double tracked, or manipulated to have that effect.  I’m normally not a fan of that kind of thing, but it’s still a great listen.  There’s some annoying feedback at points…it doesn’t bother me too much, hell, when I first heard this album (on cassette) in 1991, I couldn’t even hear the feedback, for the shitty fidelity of cassette tape.  I’m sure Ozzy considers the album to be sonically embarrassing, that seems to be his modus operandi.

Of note, “Sweet Leaf” did not manage to make the original CD release, but has been restored to this version, its CD debut.  It was on the original cassette version, a cassette-and-LP-only “bonus track” at the time.  (Aaron, that means you gotta buy remastered or LP.)

Band lineup: Osbourne/Gillis/Sarzo/Aldridge/Airey.

4.5/5 stars

SPEAK OF THE DEVIL_0004