Mike Tramp

REVIEW: Jim Crean – The London Fog (2019)

JIM CREAN – The London Fog (2019 Visionary Noise)

Vocalist extraordinaire Jim Crean is back with two new solo albums.  Not only is there a 16 track covers album called Gotcha Covered, but also The London Fog, a new original CD.  As usual, Crean boasts a killer hitlist of special guests, including Carmine & Vinny Appice, Mike Tramp, Rudy Sarzo, Chris Holmes, Steph Honde and plenty more.  Buckle up — it’s a heavy duty trip.

The London Fog goes wide open from the start, with the two new songs Crean released on last year’s Greatest Hits:  the excellent “Scream Taker” (tribute to Ronnie James Dio) and the riffy “Conflicted”.  “Scream Taker” features Dio alumni Vinny Appice and Rudy Sarzo.  These tracks follow the traditional blueprints of classic 80s metal, particularly “Conflicted”.  (The dexterous bassist that I initially mistook for Billy Sheehan is actually A.D. Zimmer.)

Want more riffs?  Then get “Broken”!  There’s a great chorus here: Melody and power, with some tasty licks from Steph Honde.  “Aphrodisiac” takes things to a more nocturnal place, but more menacing.  Still, there’s always room for some dirty rock, and that would be “Lady Beware”.  If Dokken’s classic lineup released another song today, it would probably sound a lot like “Lady Beware”.  This is the kind of rock we all miss, and have a hard time finding today.

Jim Crean is equally at home on rockers and ballads.  “Let It Go” (with Honde on piano and keyboards) has an epic quality for a ballad.  It might be a bit Scorpions, Whitesnake (circa 1987) or Guns N’ Roses…the comparisons are up to the listener.  The keyboard solo is a cool touch.  Then heavy sounds circulate on “Loaded” (more Zimmer on bass), but yet Crean maintains a knack for melody.

A familiar voice welcomes you on “Candle”, a Mike Tramp (Freaks of Nature) cover featuring Tramp in a duet.  The song is new to these ears, and I like how the parts shift and change moods.  A riff for the ages follows, on an original track called “1981”.  Again I’m reminded of Dokken, the classic era.  It’s hard to recapture a time period with such clarity, but Jim Crean has a talent for writing that way.  Some of his originals could very well be from another time.  (Drummer Colleen Mastrocovo gives “1981” a serious kick.)

Another obscure cover:  Robin Zander’s 1993 solo track “Time Will Let You Know”, a classy ballad from an underrated album.  Jim doesn’t try to sound like Robin Zander, but does it justice.  Then it’s Rod Stewart’s dance classic “Passion”.  Very few singers have the right rasp to do Rod Stewart justice, but Jim Crean is one of them.  That’s the always slick Tony Franklin on bass.  And get this!  Franklin’s Blue Murder bandmate Carmine Appice, the same guy who played on the the original “Passion”, also plays on this cover.  He approaches both versions very differently.  Rod’s version is slick dance rock, and this is more like metal that you can dance to.  Same song; familiar but a completely different arrangement.  If John Sykes ever played with Rod Stewart, maybe this is what they could have sounded like.

“Passion” could have closed the album and you’d be completely satisfied, but there’s more.  A funky “Fool” sounds like Aerosmith, and who’s that on guitar?  Ray Tabano, the original Aerosmith guitarist before Brad Whitford joined the band!  This song is more Aerosmith than anything that band has recorded since 1993!  Then it’s another lesser-known cover and duet:  Angel’s “Don’t Take Your Love” featuring original Angel singer Frank DiMino.  Great melodic rock songs are always welcome, and this one is truly great.

Finally comes the metallic closer “Tears” featuring Chris Holmes (W.A.S.P.).  The contrast between the heavy riffs and Jim’s melodic vocals is what makes this style work so well for him.  The riff has a W.A.S.P. vibe, but Crean takes it in a totally different direction.

Another fine album from Jim Crean and friends.  Fans of hard rock “the way they used to make it” will thoroughly enjoy.

4.5/5 stars

Check back for a look at Gotcha Covered, coming soon.

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REVIEW: Jim Crean – Greatest Hits (2018)

In a surprising turn of events, Jim Crean has been named the new singer for Vinnie Vincent! So it is a perfect time to review Jim Crean’s Greatest Hits.

JIM CREAN – Greatest Hits (2018 Visionary Noise)

Buffalo’s Jim Crean has four solo albums under his belt.   That’s a good minimum before you release a greatest hits.  There is enough material here for a solid listen, including two new songs from Crean’s forthcoming fifth album.

Several of the best tracks are hard rockers from Crean’s Insatiable. “Touch” remains a standout, a great song any rock songwriter would be envious of.  Not to mention Crean’s power-pipes lay waste to the chorus.  Check out the metal riffing on “Follow Your Heart”, too.  These taffy-sweet tracks claw into your cranium via your ear canal.  All you can do is surrender to it.

Crean’s also capable of standout ballads.  “Make It” and “Can’t Find My Way” (a duet with Mike Tramp) are fantastic.  Then he goes vintage Aerosmith on “She Goes Down”, a song that could have fit nicely on an album like Toys in the Attic.

There are a handful of covers on the 16 track album, and interesting choices too.  “Caught in the Middle” is, of course, Dio, performed with Jimmy Bain and Vinny Appice.  “Over the Edge” is early 90s L.A. Guns, an excellent groove.  Crean also covered fellow Buffalo band the Goo Goo Dolls with the acoustic “Cuz You’re Gone”, one of the Goo’s finest ballads.

What about the new songs?  “Scream Taker” sounds like a Ronnie Dio tribute, with the lyrics cut and pasted from Rainbow, Black Sabbath and Dio songs.  “Scream Taker” indicates that Crean has gone heavier on his fifth record.  The other new song, “Conflicted” has a strong traditional metal riffy vibe.  (Is that Billy Sheehan on bass?)  Both these new songs hint at a great album to come.  Guitarist Steph Honde, who plays on both new songs says that while the new Crean album will be a bit heavier, there will also be some great ballads.

Don’t have any Jim Crean yet?  Pick up his Greatest Hits to catch up.

4.5/5 stars

REVIEW: Jim Crean – Insatiable (2016)

NEW RELEASE

JIM CREAN – Insatiable (2016 Rocker Records)

If you’re not familiar with Jim Crean, that’s OK.  You probably know of his famous friends.  Crean sings lead with the Appice Brothers (Carmine and Vinny) for their Drum Wars live shows.   Both brothers appear on his solo CD, Insatiable, along with other stars such as Phil Lewis (LA Guns), Mike Tramp (White Lion), Tony Franklin (The Firm/Blue Murder), Phil Naro and more.  But it doesn’t matter how many guests you fill your album with if you don’t have the tunes.  Crean has not only the tunes, but also the voice.

In a way the weirdest track is the intro by Don Jamieson from That Metal Show.  He pronounces “Appice” differently for each brother.  Carmine is “Appeece” and Vinny is “Appicee”.  Very odd.  The title track “Insatiable” features Vinny, but the song does not address the pronunciation controversy!  If you’re a fan of 80’s sunset strip rock, then “Insatiable” is for you, like Faster Pussycat but fed a steady diet of heavy metal.  Crean has range and rasp, and the result is the kind of rock that people miss today.

Vinny might be best known for his stint in Dio and Black Sabbath with Ronnie James.  With the late Jimmy Bain on bass, Appice and Crean re-created Dio’s “Caught in the Middle”.  Having original players and writers on it lends it a credibility that most covers can’t match.  Best of all, Crean can pull it off!  Singing Dio is, to put it mildly, not easy.  Crean pulls it off with confidence and ability, just as he does with his own original tune “Touch”.  Not to exaggerate, but “Touch” has to be one of the best songs to come out in 2016:  killer mid-paced rock, besides the riffs and that voice!  Another fine cover, L.A. Guns’ “Over the Edge” is performed with assistance from Philip Lewis.  A more obscure choice from 1991’s Hollywood Vampires, it’s a powerful slow rock track with a Zeppelin-y groove.  Guitarist Steve Major also needs to be singled out for a fine performance on this one (and all the tracks).

The most star-studded song is the lead single, “Can’t Find My Way”, a Mike Tramp cover.  Mike sings on it, as does Phil Naro, with Tony Franklin on bass and Carmine on drums.  (Tony and Carmine make it 2/3rds of the original Blue Murder, minus only John Sykes.)  This ballad is a bit slow, a bit long, but kicks in for the chorus. I actually prefer Jim’s original material. “Follow Your Heart” is one such original, this one featuring ex-Dio guitarist Rowan Robertson. It has a distinct Dio-ish vibe, aided and abetted by Vinny’s incomparable drum sound. The final three originals (“Shut Your Mouth”, “Turn it Around”, and “Miss Me”) are all very strong hard rock songs. Crean wrote all his originals himself. What a talent. Such a voice, with sharp songwriting chops. This guy has more talent in his pinky than CC Deville has in his entire body.

Two bonus tracks close it out, both covers: Mr. Big’s rockin’ “The Whole World’s Gonna Know”, and “Magic Touch” by Kiss. Sharp fans will recall that Crean contributed “Magic Touch” to Mitch Lafon’s Kiss tribute CD, A World With Heroes.  If you missed that now sold-out CD, you can at least get Jim’s version of the song here.  “Magic Touch” is, of course, great.  It always was, but now here’s a chance to hear it without the disco (Kissco?) trappings.  As for “The Whole World’s Gonna Know”, Jim’s version may surpass the original.

Added Can-Con bonus:  Much of the album was recorded in Toronto, just a stone’s throw away from Jim’s base in Buffalo, New York.

Added extra bonus:  My copy included a DVD with the “Can’t Find My Way” music video.

If you like hard rock with integrity the way they used to make it, then this album is for you.  If you buy one new release this week, make it Jim Crean’s Insatiable.

5/5 stars

 

REVIEW: White Lion – The Best Of (1992)

WHITE LION – The Best Of (1992 Atlantic)

I’m going to keep it short and sweet this time, and defer to a 1992 review by M.E.A.T Magazine’s Drew Masters (issue 38, Nov. 92):

BEST OF WHITE LION_0001

He’s right.  I don’t agree with the single M rating though; these are mostly good tunes.  They’re sequenced awkwardly as fuck though.  The flow on this disc is just completely fucked.  The songs don’t work in the sequence they’re in.  And Drew is correct in inferring that many of White Lion’s prouder, heavier moments are missing.   Vito smokes on the live tracks, but Tramp can’t hit the notes.  Buy Pride, not this.

2/5 stars

REVIEW: White Lion – Fight to Survive (1985)

FIGHT TO SURVIVE_0001WHITE LION – Fight to Survive (1985 Music for Nations)

Growing up in the 1980’s, there were a lot of new bands coming out that we latched onto pretty quickly. White Lion was one. My buddy Bob probably liked them better than I did, but I was a fan too. Back in those days, I was the guy buying all the rock magazines, while he was starting out in college. I’d tell him all the latest rock news, what albums were coming out, and so on.

One afternoon we were chatting, and I had something pretty major to tell him. I had read a White Lion interview in Circus magazine, and it revealed something neither of us knew before: Pride was not the first White Lion album! They had done a previous, independent (and rare) record called Fight to Survive that we didn’t know existed. Even back then, Bob and I were collectors, so we sought that album with great vigor.

It took years for him to find it on cassette, and then several more for me to get it on CD. Now I have it, so let’s talk about it.

The opener is “Broken Heart”, which was re-recorded in ’91 for Mane Attraction. Perhaps this early version, sans keyboards, is the better of the two. Regardless, this had hit single written all over it even back then. The chorus kills and even though it has ballady verses, it also has enough balls to pump the fist in the air.  “Cherokee” is another one with a killer chorus.  The songwriting here isn’t perfect, or polished.  It has some clunky moments, but it definitely had something.  Unfortunately, the title track is a lame-o Van Halen rip off, trying to be something like “Mean Street” or something, but missing the mark.  The lyrics about shields and swords are out of place on an album with a song like “Broken Heart”.  Vito Bratta is ripping off Randy Rhoads rather than Eddie Van Halen on the solo, but he had really yet to evolve into the player he became.

FIGHT TO SURVIVE_0002“Where Do We Run” picks up on one of the albums themes:  great choruses (and guitar solos)  that don’t have a great song around them.  However, “In the City” has nothing much of anything going for it: it’s a real flaccid side closer.  Side two’s opener “All the Fallen Men” is much better, sounding something like a Dokken single.  This song is a standout.  The rhythm section of James LoMenzo and Greg D’Angelo had already established a good groove together.  Mike Tramp’s lyrics are not profound (nor would they ever be) but he’s trying.

“All Burn in Hell” is one of those choruses without a song.  “Kid of 1000 Faces” is a song without a chorus.  “El Salvadore” opens with a really cool classical guitar/eletric guitar duo.  This at least has an original sound, or at least for 1985 it was.  And the song itself?  Another great chorus just begging for a good song, a memorable riff — anything!  White Lion were really good at writing song fragments.  Finally, the piano-based ballad “Road to Valhalla” is one of the cheesiest, unconvincing “serious” ballads I have ever heard in my life.  Mike Tramp’s flat vocals don’t help the matter much, but this song is so cookie-cutter that it sounds as if taken from a handbook called How to Re-Write “Home Sweet Home” in Three Simple Steps.

Fight To Survive has a couple great songs, and several brilliant fragments.  If they’d tightened it up and put out five as an EP, we’d be on to something.  Unfortunately, Fight To Survive is only worth:

2.5/5 stars

FIGHT TO SURVIVE_0003

REVIEW: White Lion – Mane Attraction (1991)

MANE_0002

WHITE LION – Mane Attraction (1991 Atlantic)

I was expecting a lot more out of Mane Attraction.  Most fans are of a mind that Big Game was not as good as Pride (to varying degrees) and the band seemed to agree with them.  In a guitar magazine interview, Bratta and Tramp proclaimed that they had toned it down on Big Game, and the next album would be much heavier, and more epic.

In many respects, that was true.  Mane Attraction has an 8-minute epic and two more songs clocking in at 7 minutes apiece.  There are heavy moments here that are equal to the heaviest on Fight to Survive.  Producer Richie Zito captured the heavier sounds with polish and clarity.  Where Mane Attraction stumbles is not on the heavy songs, it’s on the sappy, pathetic, limp, impotent ballads.  Side one has two in a row!

Things get off to a solid start.  “Lights and Thunder” is everything the band promised it would be.  This is the kind of uncompromising heavy rock that the band had been trying to do.  It has a trippy quality as it navigates different moods and sections.  It is quite probably the best song on the album.  Notably, Bratta’s style has become less fluttery and displays more balls.  “Leave Me Alone” too is adventurous, sort of a heavy metal funk hybrid.  It has a great heavy guitar groove, but Mike Tramp’s lyrics are absolute shit.  “Can’t touch this”?  Jesus Murphy.  It’s a shame because “Leave Me Alone” is pretty great musically.  You could headbang to it just fine; trust me, I know.

From Fight to Survive (the band’s indi debut) comes a re-recording of “Broken Heart”.  It is a commercial hard rocker, and it reminds me of early Europe.   New keyboard parts made it more pop and radio friendly, but it didn’t get the radio play the band needed.  Plenty of keyboards can also be heard on the other single, “Love Don’t Come Easy”.  Releasing a song this soft as the first single was commercial suicide; people were craving heavier sounds.  “Love Don’t Come Easy” (originally titled “There Comes A Time”) is a good song, but it did not make a strong first impression for a single.

On album, the band chose to chase this lukewarm single with a sappy ballad called “You’re All I Need”.

I know that she’s waiting,
For me to say forever,
I know that I sometimes,
Just don’t know how to tell her.
I want to hold and kiss her,
Give her my love,
Make her believe,
‘Cause she doesn’t know,
She doesn’t know.

Mnfnrhshitrmfn.

And then…wait for it…

Another ballad.

There is least some cool organ and bluesy guitar on “It’s Over”, but why the hell would you put so many soft songs in a row?  I’m sure back in the day the band were trying call this a blues, but that would be stretching the matter greatly.   “It’s Over” closes side one, and I need to go and get some air, because these stuffy ballads are making me feel ill.

FUCKING

Intermission

Alright, I’m back, I’ve cleared my head.  Side two begins with a bang; literally.  “Warsong” was written by Tramp and Bratta as a response to the record company asking them to write “another single”.  Musically, this is a fantastic song, propelled by Greg D’Angelo’s relentless beat.  It too exhibits multiple sections and a couple killer Bratta solos (the second drastically different from the first).  Where it loses once again is in the lyrical department.  I know Mike Tramp has written many songs condemning war, and I know that the Gulf War was going on when he wrote this.  What I took issue with was the line, “I know there’s nothing good in war, I know ’cause I’ve been there before.”  I don’t think it’s cool to say you’ve “been there before” unless you actually have.  I think it’s inappropriate.

“She’s Got Everything” is a cool groove.  The lyrics suck again, but that’s expected now.  My advice is just to sing your own lyrics over Mike Tramp’s.  For example, where Mike sings this:

“So we left the party, and drove to her place,
You could see excitement written on my face.
So she took me upstairs, laid me on her bed,
When she got undressed I just lost my head.”

Try singing this:

“Sheeba dabba dobby, n’ log in fireplace,
Soo loo ba dooby doo, pooping in the place.
Shooba dooba dabba, the man in the shed,
La dee da da dee da, eating loaf of bread.”

Better, right?

“Till Death Do Us Part” is a fucking wedding song, except nobody in the entire world ever used it as such.  It has a cool, atmospheric bass intro, but then it’s off to the honeymoon in downtown Shit City.  The only good thing is Bratta’s solo, the icing over a very rotten cake.

MANE_0004

It’s too late to save the ship from sinking now.  “Out With the Boys” is another stupid lyric, but at least framed in a good rock song.  Once again White Lion lay the groove on hard.  Then Vito Bratta takes a solo slot with “Blue Monday”.  This electric blues was written and recorded for Stevie Ray Vaughan who had recently died.  Too little too late, and rendered pointless by yet another ballad.  Mane Attraction closes on “Farewell to You”, and I say good luck, don’t let the door hit you on the way out, etc.

Mane Attraction is over an hour long.  If it had been 30-35 minutes long, like rock albums from a past era, this would have been a very different review.

2/5 stars

MANE_0005I’m doing an ear-cleanse now.  To Van Halen, not Van Hagar.

 

REVIEW: White Lion – Big Game (1989)

Before I get started on the review…

BIG GAME_0005

BIG GAME_0001WHITE LION – Big Game (1989 Atlantic)

When Big Game was released in 1989, hard rock was arguably at its 80’s commercial peak.  In comparison to the two-million selling Pride, Big Game was a disappointment at the cash register.  I believe this was an herald of the changing winds of rock, that would fully arrive in 1991.  At the time, it was more considered a sign that Big Game was weaker than Pride.  I don’t think that was the case.  Big Game remains today as enjoyable as Pride is, with plenty of great tunes to spare.

Pride‘s main weakness was its lyrics. Mike Tramp improved enough as a lyricist on Big Game that the words are no longer really an issue. He’s no Bob Dylan, but a lot of the immaturity has gone. An example is the first single “Little Fighter”. My best friend Bob assumed the song was a rallying cry about a person.  Tramp actually wrote it about the Greenpeace ship Rainbow Warrior, which was sunk by France in 1985.  To his credit, Tramp figured out how to bring his politics to hard rock music without making it obvious to those who just want to rock out.

On the other hand, the lyrics to “Broken Home” are awkward and blunt, killing my enjoyment of the album at that moment.  While nobody in their right mind supports child abuse, the stark lyrics are simply not appropriate for a hard rock album like Big Game.  It’s impossible to sing along, impossible to ignore.  Right in the middle of Side One of the album, its momentum crashes and its not because of the music.

Fortunately, musically Big Game has more of that White Lion rock and roll that propelled them to stardom in 1987.  Anthemic rockers, lighter-ready ballads, and brilliant fluttery solos by Vito Bratta are in abundance.  Big Game doesn’t sound as dark as Pride, but it is also less heavy overall.  That said, “If My Mind Is Evil” is one of White Lion’s heaviest tunes.

Highlights:

The brilliant opener “Going Home Tonight”, an irresistible hard rocker.  The bright single “Little Fighter”.  “Living On the Edge”, a fun anthem not at all like the Aerosmith song.  “Don’t Say It’s Over”, a melancholy mid-tempo song that Bon Jovi would have given his left nut to write.  The stunning closer, “Cry For Freedom”, which is lyrically blunt but not as depressing as “Broken Home”.

I even like the Golden Earring cover, “Radar Love”.  The original is a radio classic of course, but White Lion did a pretty decent cover version thanks to Vito’s sublime guitar.  I thought the music video was pretty cool too.  Anything with a car chase, right? Thank God Mike Tramp is wearing jeans in this one. How many people did he scare away with his ridiculous pants (and dancing) in the “Little Fighter” video?

Since the album was considered a bit of a failure in some quarters, White Lion tried to change things up for the next album, Mane Attraction. That too failed to drum up sales, and after some lineup changes, they quickly disbanded.  Look for my Mane Attraction review in a matter of days.

3.5/5 stars

REVIEW: White Lion – Pride (1987)

Enjoy this first of two White Lion reviews. Stay tuned for the second in a couple days!

PRIDE_0001WHITE LION – Pride (1987 Atlantic)

I’ve had some fierce arguments with some rock fans about this album.  Regardless of its flaws, I steadfastly defend it and especially the talents of one Vito Bratta, the best guitarist to never become a guitar hero.  After the breakup of White Lion in 1991, Bratta retreated from public life and music completely.  Some have argued to me, “If he was such a talent, he’d still be around.”  Such talk is ignorant of the facts.  Bratta spent many years as a caregiver to ill parents, and whatever decisions he made have to be respected.

I mentioned that this album is flawed, so I’m going to get that part out of the way first.  There are two things about this album that suck.  One is the production, by the normally awesome Michael Wagener (engineered by Canadian “Gggarth” Richardson).  It’s really muddy, echoey, and annoying.  It is indicative of the times.

The second thing that drives me nuts are the lyrics.  I know Mike Tramp is Danish and English is his second language, but there were three guys from New York (Staten Island and Brooklyn) in the band that could have helped.  As Exhibit A, I present you “Lady of the Valley”:

Lady of the valley
Can you hear me cry
In the stillness of the night
I have lost my brother
In the fights of the war
And my heart has broken down

I always stumble over that “In the fights of the war” line.  That’s one of the “serious” songs, something that White Lion tackled frequently (improving over the years).  For their flaws I’ll at least respect Mike Tramp’s willingness to present a personal point of view on specific issues (“Little Fighter”, “Cry For Freedom”, “Warsong”, “El Salvador”).  Unfortunately Pride is loaded with songs about young girls and what Mike Tramp would like to do with them.  Below, Exhibit B:

Keep your engine running high
When you take my love inside
But hold the trigger on my loaded gun (“Hungry”)

Little miss Dee’s got a dirty mind
All around the boys she’s one of a kind
If you wanna good time you can take her home
Cause everyone knows she is good in bed (“Sweet Little Loving”)

I’ll stop there.

Musically, and performance-wise, Pride is a joy to listen to.  What an untapped well of talent Vito Bratta is.  In the guitar magazines, he was noted for having captured some of the magic of Eddie Van Halen, and I agree with that.  Bratta has definitely mastered the Van Halen book of rock.  His riffs are much like Van Halen’s, with one guitar playing the rhythm and flicking in and out with tricky little licks.  It sounds difficult as hell.  “Hungry” is the most Van Halen-like.  The difference is that Bratta sounds like a much more schooled player.  Everything sounds meticulously planned and written.  When he takes a solo, it’s a combination of Van Halen and neoclassical discipline.  And every song is absolutely loaded with fills and tricks.  Pride is very busy guitar-wise, in a good way.

“Hungry” is a great song, a dark Dokken-esque opener.  Also similar to Dokken is the second track, the mid-tempo “Lonely Nights”.  It’s another strong track, and I find Mike Tramp’s raspy voice similar to Jon Bon Jovi’s from time to time.  Bratta executes a fluttery solo, and then it’s on to the next one, “Don’t Give Up”.  Again, I find the lyrics tedious.  I like positivity, but I don’t find, “Don’t give up, even when it’s tough,” to be very profound.  Thankfully this uptempo banger is another winner musically.  Once again I struggle to keep up with Bratta’s stunning fretwork.

“Lady of the Valley” is pretty impressive.  It’s the “epic” I suppose, 6 1/2 minutes in length.  The riff is choppy and smoking, and the rhythm section of James LoMenzo and Greg D’Angelo is spot-in.  Then Bratta gets his echoey acoustic guitar out and the song mutates.  An anthemic chorus tops a great song.

Side Two of the album was packed with singles:  the hits “Wait”, “Tell Me”, and “When the Chrildren Cry”.  “Wait” and “Tell Me” are both songs that Bon Jovi would have given their nuts to write.  Tramp’s raspy vocals are absolutely perfect, as was his blonde mane, and the girls went wild.  “When the Children Cry” was and still is an impressive acoustic performance.  Even in 1987 I was impressed that White Lion chose to forgo drums and backing instrumentation.  This simple, quiet song is the template for what Extreme would do three years later with “More Than Words”.  Bratta was a guitar player able to pull off such an arrangement without sacrificing integrity.

The album is rounded out by “All Join Our Hands” and “All You Need Is Rock N Roll”, two odes to the greatest music ever invented.  “All You Need Is Rock N Roll” is quite cool, beginning with what sounds like a drunken acoustic jam, and ending with with some killer bluesy playing from everyone.  Both songs are great.  I have always felt that the album tracks were as strong as the singles; like an album of 10 singles.

Shame about the sound and the lyrics, though.

 3.5/5 stars