THE FORREST WILLIAMS DEMOCRACY – “The Optimyst” (2023 single)
Forrest Williams, Scott Maybee, and Matt DeMatteo are back with their third single (check out the firsttwo if you missed ’em), and this is the best one yet. The Democracy play a hard-to-pigeonhole mixture of 90s and classic rock with a dose of progressive, among other elements. When these elements fuse, the molecules of music produced have been radiant. With three songs released to date, we can now track a trend: each song is better than the last, therefore the future is looking bright for The Democracy!
Fellow reviewer Jex Russell noted that “The Optimyst” reminded him of “Solsbury Hill” by Peter Gabriel, and I hear what he’s getting at. There’s something in that bright rhythm of the guitar part, and the uplifting vocal melody (verses by DeMatteo and choruses by Maybee, if the music video is to go by). But there’s so much more to this track than just the melodic. Listen to the drums! Williams makes creative use of toms and cymbals to form an integral part of the song’s landscape. The drums don’t distract, but they add a hell of a lot of depth and hookiness. They carve hills and valleys in the music.
The lyrics are uplifting and the message is universal. “‘Cause bad times will get better!” Don’t give up hope! “You feel hopeless, got to pay the Monday dues.” That’s pretty accurate! “I’m all fired up by Wednesday, it’s Friday soon…” Amen, brothers! I think most people will be able to relate to this song, and I hope they can feel its sunny vibes, to feel better about whatever is getting them down.
Everyone needs to hear “The Optimyst”, no matter what mood they’re in. It’s that good and it deserves to be heard far and wide. Positivity is often in short supply these days, so thank you to The Forrest Williams Democracy for bringing some sun in December.
Sometimes it is fun to review an album on its first listen, so that’s what we’re doing today with Hagar’s Three Lock Box. I only know a handful of tunes so this will be mostly brand new to me. Released December 6, 1982, Three Lock Box was Sammy’s seventh solo album. Jon Cain (Journey) and Mike Reno (Loverboy) make guest appearances, and it contains Sammy’s biggest charting solo hit. Let’s give it a spin, on this fancy Japanese CD pressing.
The title track is familiar, with its slightly funky riff and rich organ backing. I don’t know why, but that refrain of “One, two, three lock box!” reminds me of the kind of melody and simplicity of a children’s song. But child’s play this is not! A couple minutes in, and the gears shift to full blown hard rockin’. This is a catchy and rhythmically clever little tune.
“Remote Love” might have a bit too much keyboard in the mix, but this is a cool laid back rock ballad. It sounds like something from a past age perhaps. Loud keyboards aside, there’s something purely classic about it, especially when you get to the soulful chorus.
Cain and Reno appear on “Remember the Heroes” (co-written by Cain). Very Journey-esque, but Mike Reno sounds absolutely brilliant! What a powerhouse singer, and when he and Sammy team up on the chorus, it’s mighty great! You could easily imagine Journey doing this song, and perhaps they should have.
“Your Love Is Driving Me Crazy” (#13 on Billboard’s Mainstream Rock songs) is clearly hit material. It’s all melody, smooth and polished. The production has the bells and whistles and the track is just really hard to resist.
A haunting tone enters on “In the Room”, a completely different vibe. It almost sounds like a lost Alice Cooper number from the same time period. “I’ve been caught in the room, that moment of sleep when you think you’re awake.” The lyrics match the music perfectly. This is one of those must-have deep cuts, a song that absolutely deserves more attention. It’s so different for Sammy. “Rise of the Animal” follows with spooky sounds, and then a synth pulse. “I just came out from the room…” sings Sammy, continuing his thoughts from the prior song. “I saw the rising of the moon. This ain’t no ordinary night! Look to my left, look to my right.” It starts slow and picks up the pace, and ends with some brilliantly frantic soloing from Sam.
Another great deep cut is the pop rocker “I Wouldn’t Change A Thing”. A radio-ready corker, it could have been a hit in an alternate universe. Let’s call it the Sammyverse. A universe where everything is bright, colourful and shiny. I wouldn’t mind hanging out in the Sammyverse, and “I Wouldn’t Change A Thing” could be its anthem. Wave your red flags high!
“Growing Up” has a highschool-tough sound, while Sammy sings of the girls in their summer clothes. The Sammyverse only has short skirts and high heels. It’s probably the filler track of the album, as it doesn’t seem to have the hooks of previous tracks. Fortunately “Never Give Up” is all hooks. Another pop rocker with memorably melodies and smooth guitars, it’s just a fun song. Easy singalong in the car. Speaking of cars, the Sammyverse is fond of ’em, and the closing track “I Don’t Need Love” races like one of Sammy’s Ferraris. It’s a brilliant rocker and probably the heaviest track on an otherwise pretty mainstream rock album.
Sammy Hagar albums don’t have a lot of pyrotechnics. They are often meat and potatoes, workmanlike and easily accessible. Three Lock Box has its strengths not in the production or flashy performance, but in the songs and the singing. It’s a satisfying listen and I understand why it is so well liked. It may not have a lot of edge, but it’s a fun, feel-good listen.
SAVATAGE! This Florida metal band reigned from 1979 to 2002, and is now back ready to unleash a new album called Curtain Call! They never received the recognition they deserved over the course of 12 mostly excellent albums. Let’s fix that here and now!
We begin our story with tragedy, but also triumph. Lead guitarist Criss Oliva was killed by a drunk driver, almost ending the band permanently, and shattering the soul of his brother Jon. Jon Oliva was not even a member of the band anymore, having abdicated the mountain king throne to new singer Zack Stevens a year prior. Undaunted, Oliva wrote and recorded almost all the instruments on the next Savatage album Handful of Rain. Even though bassist Johnny Lee Middleton and drummer Steve “Doc” Wacholz are pictured inside, they did not play. Jon did. Joining him on lead guitar was former Testament master-shredder Alex Skolnick. An immensely powerful team up. They produced a somber album, but not without power and thrills. The title track, available as a 5:25 extended edition or the standard 5:02 version, boasts acoustic verses and a powerful chorus that will stay with you for days.
The final Savatage epic from the final Savatage album. Jon Oliva was back on lead vocals. Zack Stevens departed to form his own band, Circle II Circle. This song utilizes a powerful, relentless riff and a host of backing singers taking care of a complicated vocal counterpoint. Different lyrics and melodies all overlap to form a cohesive and weighty segment of an already powerful song. With piano and guitars intertwined with equal emphasis, Savatage may have taken their new operatic metal style to its peak here. Though a comeback is planned, the band has remaining largely inactive ever since. Regardless, at least they finished their first life in style, and with masterful progressive metal music.
Though this song commences with a corny keyboard bit and a ballady melody, it is far from that! The battle grunts of the “warriors” soon join in with a sharp metal riff. An alloy of iron and titanium, “Warriors” boasts a relentless chorus. The verses are fun too. “Armed to attack! The soldiers react!” Not poetry, but it matters not when Oliva screams. This is simply heavy metal, down to the basics, and executed with youth and naivete. The thing is: it’s really good and catchy!
A shorty, at under four minutes. The tempered steel of Criss Oliva’s riff is the main hook. Much would improve later on, such as Jon’s lyrics and the band’s writing skills, but they had everything they needed from the get-go. There’s a slower breakdown in the middle that only serves to re-ignite the powerful riff later on. Oliva’s shrieking was already in place, fully formed and under his complete control. Because the song is so short, you just have to go back and play it one more time.
Producer/manager Paul O’Neill was working with a little band called Badlands in 1989, featuring former Black Sabbath singer Ray Gillen on lead vocals. He made a hell of an impression before Badlands as a backing vocalist on “Strange Wings” by Savatage! This song, which boasts a powerfully simple riff, contains one of Savatage’s mightiest choruses! A melancholy metal song with oodles of power, “Strange Wings” is one of Savatage’s top deep cuts. There are many to choose from, but Ray’s singing on this one sets it apart. His voice, mixed with Jon Oliva’s, offers a rare metal duet of stainless steel.
A classic Criss Oliva riff, backed by the haunting screams of brother Jon! This song introduced Savatage to the metal masses. Few songs can top the power of its mighty riff, or the unholy notes that Oliva hits on the chorus. Not overly complex, but neither is it simple. After Criss’ solo, Jon simply lets loose with the howls of a banshee gone mad! Many would rank this song much higher than #5. Perhaps the Metal Man is one. It is extremely difficult, since Savatage have so many songs of different flavours. Of their era of pure metal majesty, this song is tops.
4.“The Wake of Magellan” from The Wake of Magellan (1999)
Savatage have utilized counterpoint vocals numerous times on their albums from Handful of Rain to Poets and Madmen. It is arguable that “The Wake of Magellan” is their most effective use of the technique. Multiple vocal parts and lyrics overlap over each other, with uncountable Zacks singing complementary parts over each other. Fortunately, the melodies are strong enough to stand out in the storm! While the band and orchestra cooks behind, Zack Stevens sings all the parts, overdubbed for simultaneous power. The first layer: “Don’t see the storms are forming, don’t see or heed the warning, don’t hear the sound of tyrants, surrounded by the silence.” Then a second Zack joins, singing the same. A third Zack emerges overtop, singing the extremely fast and challenging lines: “Columbus and Magellan and De Gama sailed upon the ocean in a world of ignorance with thoughts so primitive. That men were killed with no more will than that they simply had the notion, but in this world of heartless men this thing they never did.” Imagine singing that live, which the band had to do, at machine gun speed! Another Zack doubles those lines. Then a fifth Zack joins: “Don’t hear it, don’t hear it…” Then another Zack: “Got to keep it underground, pretend you never heard a sound.” More Zacks join with the lines “If they find it, kill it, blind it,” and “Lord tell me what is to be,” until all the voices coalesce together in the line “They whisper, and I…” Has there ever been a more epic song in any genre?
New singer. New lease on life. Zack Stevens was sometimes compared to Geoff Tate when he first debuted in 1993 on Edge of Thorns. The first single from the first album of a new era, combining the metal of Savatage’s early years and the piano epics of the previous two records. The brilliant title track from Stevens’ debut still raises goosebumps on the arms. An apex of this style of metal, “Edge of Thorns” has no dull surfaces. Every edge cuts deep, the scarlet blood stains lingering in your heart forever. “I have seen you on the edge of dawn, felt you here before you were born. Balance your dreams upon the edge of thorns…but I don’t think about you anymore.” Yet he clearly does. This theme recurs through the album on songs like “Conversation Piece”. Another genius Criss Oliva guitar solo is the cherry on top. Few bands can meld their different styles from separate eras together like Savatage did on “Edge of Thorns”. A masterpiece of a song.
I’ll never forget hearing that opening piano figure. Loosely, Jon Oliva plays: “ding, ding, ding…” Then as he plays the notes become stronger and the tempo more steady. Suddenly the band crashes forth and “Gutter Ballet” careens through your stereo, into your soul. Savatage had never incorporated piano like this before, and by breaking new ground they broke down walls. No longer were they a simple heavy metal band. The doors to a whole new world of concept and drama had opened. Welcome to the Gutter Ballet. This track combines an epic piano melody with incendiary guitar riffs, an orchestra, and street-smart Oliva/O’Neill lyrics about the nasty gutters of New York City. “Balanced on their knives, little parts of lives, such a strange reality. Kill the unicorn, just to have its horn, soon he’s just a fantasy…” And the Criss Oliva guitar solo! A composition unto itself, backed by strings. Power, emotion, skill and fire combined together into one incredible song. An epic song that few bands could top. Few…except Savatage.
Within the context of the Streets story, the main character D.T. Jesus witnesses a luminous spirit emerge from a dying homeless man, that he follows up several flights of stairs to a roof of a building. D.T. opens his heart, and hears the voice of God. “Believe” is the perfect ending to an epic emotional journey. With all the power that Savatage can muster — overblown, dramatic, and pompous — “Believe” ends the rock opera (and this list) properly. Interestingly, it retains an epic section that was lifted directly from “When the Crowds are Gone”, as the two albums share a genesis. So epic is this segment, that Savatage had to re-use it. Then later, on the Savatage album Handful of Rain, part of it was re-used again, along with other parts of “Believe”. “Believe” ends this album on the bright up-note that you want a story to end with, your soul awash with light and musically uplifted. “I’ll be right there, I’ll never leave, and all I ask is believe”
RAINBOW –Down To Earth Tour 1979 (2015 Purple Pyramid box set)
On the surface, this is quite a deluxe box set. It’s larger than than a typical CD case by an inch on either side, and it’s almost an inch deep. It has a beautiful hologram-style finish, shining and shimmery. There are three discs inside, one from each of three shows on the 1979 Rainbow tour: Denver, Long Island, and Chicago. Each CD comes in its own full colour sleeve, and there are other goodies packed inside, such as the obligatory booklet. It’s a loaded booklet, with loads of photos and text.
You might look at the track listing on the back and ask why there are only seven tracks per show (five for Chicago). Rainbow were only an opening act (for Blue Oyster Cult) on this tour, a source of frustration for the band. Also, the track listing is deceiving because “Lost In Hollywood” is a long bomber, over 20 minutes long on each disc, and contains lengthy solos and detours.
There are issues. First and foremost: the audio. It’s not great. None of the discs are particularly outstanding. They’re all different sounding; just a different variety of bad! People who buy bootlegs won’t mind so much, but when you look at a set this deluxe on the store shelves, you might be expecting more sonically. A lot more. That’s just the nature of these kinds of releases. They’re fine to play, but some people will dismiss them.
The other issue with the music would be that the tracks are repeated from show to show. The variety comes from the playing, not the setlist.
Speaking of playing, even though the band were tired of the opening slot, they don’t show it. The lineup was one of Rainbow’s best: Graham Bonnet on lead vocals, Don Airey on keyboards, Deep Purple alumnus Roger Glover on bass, the legendary Cozy Powell on drums, and of course the man in black Ritchie Blackmore on guitar. Everyone knows what to expect from a Blackmore guitar solo, but a Don Airey keyboard solo is less familiar territory. It’s part Doctor Who and part rock and roll. And Cozy, of course, slams. You only wish he were better recorded.
Rainbow were playing loads of new material on this tour, with only a handful of Dio-era classics. “Eyes of the World” is an interesting choice for opener, not an obvious selection. It causes the show to open with an electronic pulse, all atmospheric and sci-fi. It’s a change from the usual hit-em-hard kind of opener. Of course, the song does rock, but the intro is over a minute long. A second new song, the slower blues “Love’s No Friend” follows, another interesting choice. It’s rife with brilliant guitar work from Blackmore, and Airey compliments him perfectly. Continuing with new material, “Since You Been Gone” was the familiar single written by Russ Ballard, which closes with a load of solos from Blackmore and Airey, and the “Over the Rainbow” segment as well. “All Night Long” (which opened the Down to Earth album) works well to regain focus after all that meandering. I like how Graham changes the lyrics. He clearly sings “I need a girl who can give me head, all night long,” instead of “keep her head”! Unsubtle. The fifth and last of the new songs is the aforementioned scorcher “Lost In Hollywood”, bloated to 22 to 26 minutes from show to show. This is the track for the musicians in the audience, and for everyone else to take a pee. Fortunately for those who love great drum solos, Cozy has a spotlight moment. Unfortunately, not everyone loves drum solos.
The set closes with two Dio classics: “Man on the Silver Mountain” (long solo opening, and a bit of “Lazy”), and “Long Live Rock and Roll”. It’s hard for any singer to do Dio and here they sound like a Graham songs. I prefer Graham’s version of “Silver Mountain” to Joe Lynn Turner’s. Really, these are pretty good interpretations, as long as you can forget the mighty elf’s versions for a few moments. Graham had no issue with the range or power, just that he’s a completely different vocalist from Ronnie James Dio.
The Chicago set is missing “Since You’ve Been Gone” and “Silver Mountain”, which were not played that night.
The liner notes are excellent, except when printed in black ink over a blue background, rendering them extremely hard to read. It’s 28 pages with rare photos and ads. The set also includes a heavy metal bottle opener that you’ll never use, a Richie Blackmore guitar pick that you’ll never use, and a Rainbow button & patch that you won’t put on any jacket that you own.
This set is for diehards only; those that need as many Rainbow shows from as many lineups as they can get. For everyone else, it’s pure overkill.
THE DARKNESS – Permission To Land… Again (2023 Box Set)
Once (and perhaps still) considered one of the biggest jokes in rock*, The Darkness have proven ’em wrong, for it was 20 years ago they dropped this bomb on the world called Permission to Land. Regardless of the ups and downs, the band continues on today with a documentary film in the works. Of course, the obligatory box set was also necessary. Permission to Land… Again collects nearly everything from the era and packs it up for you in a 5 disc set perfect for home consumption. And it’s affordable, too.
CD 1 commences with the original 2003 album, a monolith of Queen and AC/DC’s bastard children, brought to life in spandex and bandanas. The album itself spawned four singles:
“Get Your Hands Off My Woman”, the expletive-laden favourite that still delights today as a fast head banger.
“Growing On Me”, perfectly in the pocket, a melodic hard right classic with just enough bite.
“I Believe In A Thing Called Love”, iridescent and unforgettable as ever, a classic in every sense.
“Love In Only A Feeling”, bombastic and beautiful guitar chords crashing on this prototype for the trademark Darkness ballad. Steve Tyler wishes he could write ’em like this today.
That leaves six killer album tracks, none of which are filler. Opener “Black Shuck” is a monster (literally), rocking heavy and beating the doors down despite your best efforts. “Givin’ Up” should have been a single, but the language, tisk tisk! Foreshadowing Justin Hawkin’s drug issues, this song is literally about “stickin’ that fuckin’ shit” up his nose. Yes it’s surprisingly delightful, and perhaps the most immediately catchy one on the album. “Stuck In A Rut” is different, blasting fast and loud, with Justin singing at max voice. Back to lighter, catchy territory, “Friday Night” is a certain fan-favourite. It easily could have been another single, as Justin literally reads off his weekly schedule. “Monday, cycling, Tuesday, gymnastics, dancing on a Friday night.” Bopping piano accents will keep feet moving. Moving on to “Love On the Rocks With No Ice” (great title), the slow heavy grind smacks you in the head and reminds you this is a rock and roll band. Despite that, the album closes on a lovely ballad “Holding My Own” which also really could have been a single.
CD 1 is beefed out with six extra songs, all demos, of tracks that didn’t make the album and tracks that did. Speaking of which, they are rough but so similar to the final versions. Some have bits that were later trimmed out or de-emphasized, like keyboard overdubs and intros. “Black Shuck”, though without the hard-hitting production, might be better in some ways than the album version, with more twists and vocals. There is also a demo of “Out of My Hands”, a fine album B-side.
The best inclusions on this disc, however, are the surprises: demos that didn’t make Permission to Land! “Live ‘Til I Die” went unreleased until 2019’s Easter Is Cancelled, but this version has Eddie Graham on drums. This version is very, very different. Much more AC/DC and dare I say, much catchier and better. There’a also an early demo of “Nothing’s Gonna Stop Us”, which was finally released on 2012’s reunion album Hot Cakes. This one is much more similar to the glossier final product.
CD 2 is a treasure trove of goodies! Every studio B-side from the album, some non-album singles, some “clean” versions that we wouldn’t purposely seek out to buy; they are all here. (The live B-sides are included with their respective shows, but we’ll get to those.) This is comprehensive as heck.
The three tracks from the very rare 2002 EP I Believe In A Thing Called Love are included: the title track, “Love on the Rocks With No Ice” and “Love Is Only A Feeling”. The recordings themselves are the same as the final album versions, but the mixes are not. These earlier mixes have slight, but audible differences and can be characterised as a bit less finished. The bass may be more pronounced on some places, and backing vocals in another.
Like some British bands before them, such as Oasis, The Darkness seemed to put just as much effort into their B-sides, often making them album (or single) worthy on their own. The complete studio B-sides here are:
“The Best Of Me”, a crankin’ rocker with a southern vibe.
The aforementioned “Out of My Hands”, a lighter song with a Def Leppard vibe on the guitars. Could have been a hit in its own right. Brilliant chorus.
Concert favourite “Makin’ Out”, which has more of that AC/DC vibe that the Darkness really mined in their early days. A fan favourite for a reason.
“Physical Sex”, another riffy number with an outrageously high chorus.
The ballad “How Dare You Call This Love?” which also could have been on the album, had it been longer. The actual album had two already. A fun song though, with some lovely Lizzy-ish guitar harmonies.
“The best instrumental that AC/DC never recorded”, according to Tim Durling, is “Bareback”, one of the Darkness’ best B-sides ever…if not their best. Thankfully, this song was not just relegated to the dusky corners of the “Growing On Me” single, but received some live workouts too. More on that later.
A song about building a house, “Planning Permission”, is a bit goofy lyrically (mixing cement!), but it gets goofier still as you’ll see. Fortunately it’s a catchy, upbeat Darkness number that has all their trademark guitar and vocal accoutrements.
“Curse of the Tolland Man” is the goofiest of them all, a ghost story, and a song that gets trashed in the liner notes as awful muck, but is defended by Justin and Dan Hawkins as a favourite. The jury remains out, but they are all correct about it.
“I Love You 5 Times” is another ballad, but by this time we’re technically heading outside album territory. Forgettable, but for the strings and Justin’s silly “m-m-m-meees” stuttery vocals. It was actually the B-side to a standalone Christmas single, “Christmas Time (Don’t Let the Bells End)”, an excellent song in its own right.
This box set is so comprehensive that it even includes the two singles that were not from it.
“Christmas Time (Don’t Let the Bells End)“…don’t Google what “bell end” means in British slang. Let’s just say Justin had his tongue in cheek! Great rocker, very Lizzy, and an absolutely Darkness classic. Produced by Bob Ezrin! This track was included on some European editions of the album as a bonus.
Then we have the rarest of them all, and finally available physically for us to buy: 2004’s “Get Your Hands Off My Woman…Again“. Though it does have Frankie Poullain on bass, this song is more a part of the story for the second album, One Way Ticket. The band were experimenting with producer Roy Thomas Baker and this remake was sold digitally. It is here in both “clean” and “explicit” versions. A cleaner, sharper incarnation of the song, for better or worse! The liner notes finally explain the mystery of the added piano part: It was inspired by Ben Folds’ cover of the song, which they thought was an improvement!
CDs 3 and 4 contain three live gigs, and the balance of the B-sides from this era. “Gimme a D! Gimme an Arkness!”
The 2003 set at Knebworth is brilliant. Opening with “Growing On Me”, the band has a bizarre and comedic stage presence, but the song kicks! They are a tight band, and a beat is not missed. They play two B-sides, a manic “The Best of Me” (for dancing, says Justin) and the classic “Makin’ Out”. “I Believe In A Thing Called Love” from the Knebworth concert was previously issued on a German version of the Christmas single. I like when Justin asks the audience which version of “Get Your Hands Off My Woman” they’d like to hear, clean or dirty?
On the same disc is a set from the Astoria in 2003. Opening with a raging “Bareback”, this set is even better than the Knebworth one. What a start! Instrumentals can make a pretty killer opener! From there it’s “Black Shuck”, and a live version of “Get Your Hands Off My Woman” that was previously issued as a B-side to a rare DVD single for “Love Is Only A Feeling”. It’s notable for the strange “me-me-me” singalong thing Justin does at the end. Another thing they do in this set is something called “Buffet”, a pretty cool riff, from a part in the show that is explained in the booklet.
Best of all: The action-packed Astoria and Knebworth shows are both included on DVD inside. Watch Dan play all the guitars so Justin can do the splits! The DVD also includes all the music videos, outtakes and behind-the-scenes footage from their music videos. There’s a cute bit in the EPK (electronic press kit) explaining why Justin always asked the audience to see their thumbs. The editing on the Astoria show is absurdly fast!
CD 4 is a full-length show from 2004 at Wembley recorded on Dan’s birthday, and the last show on the tour. It’s especially cool, because the band were already road-testing new songs from One Way Ticket. Opener “Grief Hammer” was a new song that would become a B-side in 2005. It has a stuttery riff with elements of that AC/DC vibe, but the band were clearly moving beyond that pigeonhole. It takes balls to open a set at Wembley with a new song that nobody had heard before. From there they visit more familiar territory with the favourite “Givin’ Up”. A manic “Stuck In A Rut” blasts out immediately afterwards.
Other B-sides played at Wembley include the fan favourite “Makin’ Out”, “Physical Set” and that “Buffet” again! Future classics “Dinner Lady Arms” and “Seemed Like A Good Idea at the Time” are rolled out alongside the hits. “Dinner Lady Arms” is a tad harder than the soft-Leppard style of the later version, though the chorus still soars into the stratosphere. “Seemed Like Such A Good Idea at the Time” is presented without introduction, and Justin on piano with a more spare arrangement than the elaborate album version to come. This is more power ballad, and less experiment in extravagance.
As the 17 song set rolls through classics and hits, it’s clear this disc could be a standalone live album if the band choose to release it as such. Great banter, and the band were obviously having a blast on stage. At the end, there are two more surprises. One is an abbreviated cover of “Do They Know It’s Christmas?” by Band Aid, performed solo by Justin on piano. Finally, they close the show with a bombastic “Christmas Time (Don’t Let the Bells End)”, which works brilliantly in the end slot. There is no feigning joy and surprise here. All the delight is pure and genuine.
The final ingredient you need in a box set such as this is a kickass booklet with loads of reading. Look no further, as Dan and Justin exhaustively tell the story from session to session and song to song. The stories will keep you in stitches as the band shed light on things you never knew before. Eddie Graham was the most “normal” one of the bunch, but they have survived it all, and the Darkness keep going!
We live in the age of box sets. The Darkness have risen to the occasion with, dare I say it, the perfect version of Permission To Land. Will they pull this trick again in the future with One Way Ticket? They should, because they have demonstrated an understanding of what makes a great box set. In short:
Complete collection of B-sides, even from formats as obscure as DVD single.
The rare demos and EP versions we’ve been wanting.
Non-album singles.
Even those clean versions that we normally wouldn’t try too hard to collect.
Live concerts.
Extensive liner notes.
DVD with added value and live shows.
Reasonable pricing and packaging.
5/5 stars
* One evening in 2003, I was listening to the Darkness with my girlfriend in my living room, late at night, heavily intoxicated. I suddenly jumped and said “I get it! These guys are not a joke at all! They are dead serious about what they are doing! Listen! Just listen!” It was an epiphany and I was right.
BONUS! Check out Tim and I discussing this box set and more!
Mick Mars is finally out with his first solo track since 1994’s “Bittersuite” and it’s a banger.
Too much of a banger?
In this reviewer’s opinion, the song is recorded for more modern tastes. Chunky, downtuned guitars and distorted, unremarkable lead vocals (by Jacob Bunton) characterize this fast, heavy smoker. Everything sounds very processed in a modern way, for punch and impact. Someone more in tune with this sound would rate it higher.
The best part of the song is, expectedly, the guitar solo, but it’s way too short.
Another reviewer may think differently, but “Loyal to the Lie” lacks a few key ingredients: a distinctive singer, and memorable hooks.
Mick shouldn’t have to repeat his past with his former band, but a memorable song would have been nice. Yes, it’s heavy. But heavy only goes so far.
HELIX – “Brother From A Different Mother” (2022 download single)
In 2021, Helix recorded a new song called “Brother From A Different Mother”, about a good friend of singer Brian Vollmer. It was released in 2022 as a download, complete with “NFT’s” which…I don’t know what you do with that, but the mp3 file can be downloaded and played like any other!
The song “Brother From A Different Mother” is one of the heaviest Helix tunes. Fast as a shark, and heavy as a rock! The chorus is as memorable as any other Helix single, but the guitar playing is stellar. From solo to riffs, the guitar provides the undeniable hooks. There’s a slow breakdown in the middle with piano, and amazing gritty backing vocals by Cheryl Lescom.
Brian’s lyrics are heartfelt and sincere. You can tell this was a friendship he really valued. Let us hope for a physical release, be it a single or an album.
Today Tim’s dropping a special episode of Tim’s Vinyl Confessions: Getting me into Y&T! We were joined by John the Music Nut, and they did some gentle arm twisting. Check out that episode on TVC today.
On my channel, you can watch the unboxing. These are some sweet discs! Have a look for yourself.
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.
Journey began scoring hits when they acquired powerhouse vocalist Steve Perry on Infinity (1978) and Evolution (1979). Why not issue a compilation sourced from the band’s first three Perry-less records, with new cover art that ties into their present? Seems like a no-brainer. And so we have Journey’s first compilation album (and a double length at that) called In The Beginning. Thank you Tim Durling for gifting this copy for the collection and for review.
In The Beginning contains five of the seven tracks from Journey’s self-titled debut. It begins with three. As on the original LP, “Of A Lifetime” opens. The long organ and guitar-drenched opening gives way to a slow and passionate Gregg Rolie lead vocal. Were Iron Maiden influenced by this song when they wrote “Strange World” for their own debut? Probably just coincidence, but it can be heard. The main hook in “Of A Lifetime” was the unmistakable guitar hook. At this early stage, Journey boasted two guitar players: Neal Schon and the late George Tickner. They have to share the spotlight with an absolutely raging Aynsley Dunbar on drums and Rolie tearing it up on the synth. Undervalued bassist Ross Valory also must be mentioned, playing concrete but melodic foundations under the feature players.
George Tickner’s instrumental “Topaz” goes second, starting slow and then taking on a jamming, progressive jazz rock fusion vibe. This complex track is not to be taken lightly. Just absorb every different section as they hit you. Once again, Dunbar is a monster. Third is “Kohoutek”, the memorable Schon/Rolie instrumental that was also track three on the debut album. On vinyl, in both cases, it closed Side One. It’s another challenging track with a cool galloping section. (There’s a reason I’ve heard Dunbar referred to as an octopus – he sounds like he’s playing with eight arms!)
Rolie’s “On A Saturday Night” from album #2, Look Into the Future is a completely different style from the first three progressive sprawls. Under four minutes with a bopping piano, this is just great rock and roll! Tickner was out and the band was reduced to a quartet with Schon as the sole six-stringer. Shades here of where the band would head once they figured out their future direction. Schon’s solo is an example of melodic composition. The Beatles cover “It’s All Too Much” from Look Into the Future follows. It fits this new concise straightforward Journey sound, and it is quite excellent. Rolie was the perfect guy to sing a George Harrison song, and the backwards ending is suitably trippy. The blues “In My Lonely Feeling/Conversations” takes us back to the debut album. This Rolie/Valory composition scorches with passionate fretwork. Not surprisingly, the bass is the foundation. Also from the debut, “Mystery Mountain” closes side one. A short, but jamming track with subtle use of the wah-wah pedal.
Opening (cassette) Side Two, “Spaceman” from Next (album #3) was a melodic single. Journey were honing in on that simple pop rock ballad. “Spaceman” is one of their first. As it did on album, “People” follows “Spaceman”, featuring synth and acoustics. Very psychedelic for Journey. The back to album #2, “Anyway” rocks hard and slow, like a monumental Whitesnake track from the 70s. (Dunbar later joined Coverdale & Co. for 1987.) From the same record, “You’re On Your Own” switches from slow and bluesy verses to a pounding chorus, enabled by Aynsley. There’s a Beatles influence here in “I Want You (She’s So Heavy”).
We’re into the last tracks here, as vinyl listeners would have been flipping to side four for “Look Into the Future”, a brilliant ballad and one of the band’s early best. “Nickel and Dime”, a legendary jam from Next feels like a throwback to the first album and for good reason: it’s a leftover Tickner co-write! And finally, In The Beginning closes with the epic “I’m Gonna Leave You”, the same song that closed the debut Journey. Coupling some killer organ with with a heavy riff, this bluesy rocker also boasts some of Rolie’s best vocalizin’. Legendary!
For those who only know Journey as a lovin’, touchin’, squeezin’ band of crooners and balladeers, this compilation would come as a shock to the system. But a shock can be a good thing. In The Beginning is a great way to get many of the key tracks from the first phase of Journey in one purchase. This stuff doesn’t usually make it onto regular Journey compilations. It’s a good set to own.
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