progressive rock

REVIEW: Queensryche – Speaking in Digital: A Conversation with Queensryche (1986 promo)

QUEENSRŸCHE – Speaking in Digital: A Conversation with Queensryche (1986 EMI America promo interview LP)

Here’s a nice little rarity for you, a full-length Queensryche interview disc from the Rage For Order era.  Promos are a funny thing for reviewing (and this is our second Queensryche promo review).  These records were never made for sale, therefore nobody reviews them.  Nobody…but us.  Is there any rock knowledge or collector’s value to be gleaned from this disc?  Let us find out.

It’s an attractive record, Geoff Tate’s digitally distorted face in black & white.  No Try-Ryche, but a neat digital Queensryche logo.  The interview is conducted by radio DJ Ralph Tortoro.  A very low-key Geoff Tate begins by answering general questions about the beginning of the band and their independent EP.  Chris DeGarmo is a bit more engaged and adds the details.  Shy Michael Wilton speaks up only on occasion.

You’ll also get bits and pieces of music:  Snippets of “Queen of the Reich”, “Warning”, and “Gonna Get Close to You”.  There are four full songs too:  a massive “Screaming in Digital” (so hot on vinyl!), “I Dream in Infrared”, “Chemical Youth” and “The Whisper”.

Interesting things I noted while listening:

  1. They hadn’t settled on the name Queensryche for the band until they had to print up the first EP, forced to make a decision.
  2. Maiden was one of their favourite bands to cover according to Chris.
  3. Tate clearly didn’t like being called “metal” even back in 1986.
  4. “NM 156” from The Warning is hailed as the track that showed the way of the future of Queensryche.
  5. Steve Harris loved The Warning and asked for Queensryche to open for Iron Maiden.
  6. Rage for Order is a “loose concept” album, examining order over three levels:  order in relationships, political order, and technological order.
  7. Other questions remain unasked.

The new digitally enhanced Queensryche of 1986 was destined to confuse people in the short term, gradually winning over fans as time went on and people “got” the album.  If you want to deepen your understanding of its themes, this record will help.  There’s more too; we won’t tell you everything.  As a fan, you should be able to decide if Speaking in Digital is the kind of thing you want in your rock and roll reference library.  The young, shy Queensryche interviewed on this LP are as cold as the machines that are striving for order in the lyrics.  It’s a dry but interesting listen.

3/5 stars

 

 

REVIEW: Joe Satriani, Eric Johnson, Steve Vai – G3 Live in Concert (1997)

JOE SATRIANI, ERIC JOHNSON, STEVE VAI – G3 Live in Concert (1997 Epic)

It took me 21 years to finally buy this CD.  Why?  It was hard to get excited about three live Satch songs, three live Vai songs, and so on.  But a collector needs to catch ’em all, and it’s actually a pretty fabulous listen throughout.

Joe Satriani opens the set with “Cool No. 9” from his self-titled blues album.  Blues to Joe Satriani is a different kind of animal.  It’s trick-laden and thick with notes, although this doesn’t mean light on feel.  His landmark classic “Flying in a Blue Dream” is more what people expect from Joe.  I like to describe his albums as regular vocal rock records, just with the lead guitar singing the melody instead of a person.  I think I stole that description from Joe himself.  You can’t really call “Flying” a ballad but it sure is epic.  Finally it’s “Summer Song”, Joe’s big 1992 hit from The Extemist.  It doesn’t get more accessible for instrumental guitar rock.  Joe’s actually the perfect artist to open this CD for that reason.  His music, more than most instrumentalists, is door-opening for listeners.

The sublime Eric Johnson is in the middle position.  “Zap” is a tour-de-force of instrumental prowess, built into the framework of a nice shuffle.  Though you can certainly bop along if you like, the musicianship here is not for the timid.  “Camel’s Night Out” is a busy groover.  One of Johnson’s best tunes ever has to be “Manhattan”, which goes down unbelievably smooth live.  The playing is lyrical and warm.

Steve Vai’s threesome includes “Answers” and “For the Love of God” from Passion & Warfare.  “Answers” is one of Vai’s more challenging songs, fast and funky with weird tones and melodies.  This is probably the most blistering song on the whole disc, including a solo that isn’t in the studio version.  For all that, “For the Love of God” is the most awe-inspiring.  This ballad puts the passion in Passion and Warfare.  This is the one with Steve’s soul in it, every bend and every beat.  “The Attitude Song” is an oldie from the first Vai album Flex-able, just a solid rocker with some shredding.  Live it is much heavier than the tinny studio cut.

Finally, there is a trio of tunes with the three maestros playing together, as is the G3 tradition.  The blues standard “Going Down” is a typical jam, with Joe on vocals.  Then a tribute to Steve’s mentor, Frank Zappa, on “My Guitar Wants to Kill Your Mama” with everyone singing…and shredding.  Finally, Jimi Hendrix’s “Red House” finishes the CD with Eric Johnson on lead vocals.  Of these three tracks, “My Guitar Wants to Kill Your Mama” smokes the other two.

May as well pick up the original G3 CD if you find it in the wild.  It’s good stuff.

3.5/5 stars

Just Listening to…Styx – The Serpent is Rising

Just Listening to…Styx – The Serpent is Rising

For Christmas this year, my beautiful wife bought me not one, not two, not three, but four Styx albums!  This was easier than it sounds, because 1) I have an Amazon wishlist, and 2) the first four Styx albums were handily reissued together in a 2CD set called The Complete Wooden Nickel Recordings.  I hadn’t heard any of these albums in full before Christmas.  All four albums were quite good, but the third, The Serpent is Rising, was especially intriguing to me.

I played the four albums in order, recognising a few songs and absorbing others for the first time.  After two full albums and over an hour of progressive rock, I was struck by a song so odd that I had to remove my headphones and check my computer to see what was going on.  Did a Youtube video somehow start playing in the background?  What I was hearing…did not sound like what I had heard!

Would you believe that way back in 1973, Styx were playing around with hidden tracks on albums?  On CD, the track came up with the name “As Bad as This”, written and sung by guitarist John Curulewski.  It is a low, bluesy lament, contrasting some of other more complex songs like “The Grove of Eglantine”.  When “As Bad as This” comes to a close, the last thing you’d expect to follow is a song about plexiglas toilets.

“Don’t sit down on de plexiglas toilet, said the mama to her son.  Wipe the butt clean with the paper, make it nice for everyone.”  All done acoustically in a really bad Caribbean accent.  I am not joking.  The hidden track “Plexiglas Toilet” is over two minutes of pure silliness.  I admit that I love it; it fits my sense of humour.  But this never, ever, ever should been on a progressive rock album!  How?  Why?  And it’s right smack in the middle!  It sits at the very end of side two of The Serpent is Rising!

Toilets aside, The Serpent is Rising is otherwise a pretty strong Styx album.   They were getting more diverse record by record, and their chops kept getting better.  Depending on the kind of Styx you like, the best song could be “Winner Take All” for its pop choruses, or the prowlin’ “Witch Wolf”.  But they really didn’t have a direction yet.  There’s rock, pop, blues, weird spoken bits, plexiglas toilets, and Handel’s Messiah.

The album is not cohesive at all, but a lovely gift it is!

Side one
1. “Witch Wolf” 3:57
2. “The Grove of Eglantine” 5:00
3. “Young Man” 4:45
4. “As Bad as This”
a. “As Bad as This” – 3:45
b. “Plexiglas Toilet” (Hidden Track) – 2:22

Side two
1. “Winner Take All” 3:10
2. “22 Years” 3:39
3. “Jonas Psalter” 4:41
4. “The Serpent Is Rising” 4:55
5. “Krakatoa” 1:36
6. “Hallelujah Chorus” 2:14

REVIEW: Styx – Regeneration Volume II (2011)

STYX – Regeneration Volume II (2011 Eagle Rock)

Long nights, impossible odds?  If you wanna discuss impossible odds, then let’s discuss re-recording your old hits.  It’s not usually a good idea.  In Styx’s case, it gave them a chance to sell some product while out on tour, but the new versions are no replacements for the old.

“Blue Collar Man” has that big fat organ riff, but it’s…different.  Technology can’t reproduce magic, and the original “Blue Collar Man” was pure magic.  It’s also missing Dennis DeYoung’s inimitable backing vocals.  The current Styx sure can sing, but Dennis’ voice was a big part of the chorus.  “Renegade” is more successful.  Todd Sucherman really stretches out on the drums.  The kid’s got talent!

James Young’s “Miss America” has more bite than the original.  “Snowblind” benefits from the re-recording, having more depth now.  Styx also get points for redoing “Queen of Spades”, now starring Lawrence Gowan.  Styx have plenty of hits, but just as important to fans are the deeper cuts.  Any time they get a little more spotlight is a good time.  “Queen of Spades” rocks regally, riffy and progressive.   “Boat on a River” is pretty authentic to the original, while “Too Much Time on My Hands” has some different keyboard flare.  Both are worthy inclusions.  This isn’t to say any of these versions are superior to the originals.  That’s impossible.  This is just to say they are enjoyable to listen to.

The bait to buy the re-recordings are two Damn Yankees songs:  “Coming of Age” and (of course) “High Enough”.  Styx have been known to perform “High Enough” in concert, but what are they like without Jack Blades and Ted Nugent?  Surprisingly good.  Styx can handle the singing, and James Young can riff and wail with the best of ’em.  “High Enough” in particular sounds great.  Lush and with more balls.

Interestingly enough, it looks like all the guys recorded their parts in different studios, all over the place.  Gowan was recorded in Toronto, and of interest to Rush fans is that Terry Brown co-engineered his parts.  The marvels of the modern world.

3/5 stars

 

 

REVIEW: Styx – Regeneration Volume I (2010)

STYX – Regeneration Volume I (2010 Eagle Rock)

I know what you’re thinking.  “Styx re-recordings?  Why the  hell do I need those?”

You don’t.  That’s why they added a new song (“Difference in the World”) exclusive to this set.

Initially, the EP Regeneration Volume I was sold exclusively online and at Styx concerts, but it was reissued with Volume II to regular retail as a double CD set.  Volume II has its own exclusives, which will be discussed in a separate review.  Aside from the cleaner sound, the most obvious difference is the more modern drumming by Todd Sucherman.  Original drummer John Panozzo had his own style and the difference is obvious.  That’s neither good nor bad; just an observation.

“Difference in the World” is a melancholy but good song.  Styx have a lot of good songs.  Tommy Shaw wrote another one.  There you go.

“The Grand Illusion” features singer Lawrence Gowan on an old Dennis DeYoung classic.  Considering how long Gowan has been with Styx now (almost 20 years!), it is justifiable to re-record old songs with him on a low-key release such as this.  It’s harder to justify Tommy Shaw’s “Sing For the Day” and “Fooling Yourself” which are damn near note-for-note accurate to the originals.  Tommy’s orchestral re-imaginings on his solo live album Sing For the Day! are a lot more interesting.  The biggest difference are Gowan’s backing vocals.  Put these versions in a Styx shuffle and they won’t be too obtrusive.

James Young takes the lead on “Lorelei”.  Of the re-recordings, “Lorelei” is clearly the best.  Dennis DeYoung sang the original, but James sings it live today since he’s the co-writer.  Doing a studio version with James is more than justified.   “Crystal Ball” is still as epic as it ever was, but has more edge with modern production.  The guitar solo is to die for.

What about “Come Sail Away”?  Unnecessary and perhaps detrimental to this EP.  Doing it live without Dennis is one thing.  It’s not a song you want to leave a Styx concert without hearing.  Gowan’s fine, but redoing this one in the studio can never live up to the original in any way, and you’re digging your own hole by even trying.  Magic cannot be recreated, only imitated.

3/5 stars

REVIEW: Styx – Caught in the Act – Live (1984)

For Deke’s review at Arena Rock, click here!

 

STYX – Caught in the Act – Live (1984 A&M, 2018 BGO reissue)

“Hey everybody it’s Music Time!”

Sorta, anyway!  Styx were just about toast after “Mr. Roboto“, and Tommy Shaw didn’t want to sing any more songs about androids.  (Mars, however, was fine.)  He departed to check out some Girls With Guns, but not before Styx put out one more product before hiatus.  That would be the traditional double live album, which was actually Styx’s first.

Styx have lots of live albums now, but only two with Dennis DeYoung.  Caught in the Act is essential for a few key reasons.  It sounds great although there are clearly overdubs in places.  It is the only one with the classic lineup of DeYoung/Shaw/James “JY” Young/Chuck Panozzo/John Panozzo.  And it has plenty of classic Styx songs that still shake the radio waves today.

Like many live albums, Caught in the Act contained one new song.  Dennis DeYoung wrote the uppity “Music Time”, a very New Wave single without much of the punch of old Styx.  Shaw was so nauseated that he barely participated in the music video.  “Music Time” isn’t one of Styx’s finest songs.  It’s passable but clearly a misstep.  No wonder it was a final straw of sorts for Tommy Shaw.

With that out of the way, on with the show.  Styx opened the set with “Mr. Roboto”, a mega hit that got a bad rap over the years until nostalgia made it OK to like it again.  Fortunately only two songs from Kilroy Was Here were included, the ballad “Don’t Let It End” being the other.  Live, “Roboto” pulses with energy, far more than you would expect.  The disco-like synthetic beats complement the techno-themed lyrics.  Every hook is delivered with precision.  With the human factor that comes out in a live recording, “Roboto” could be one of those songs that is actually better live.

Styx have always been a diverse act, and this album demonstrates a few sides of the band.  Shaw and Young tended to write rockers, and “Too Much Time On My Hands”, “Miss America”, “Snowblind”, “Rockin’ the Paradise” and especially “Blue Collar Man” are prime examples of the best kind.  Long nights, impossible odds…yet a killer set of rock tunes.  Then there are the ballads.  “Babe” is a slow dancing classic, and “The Best of Times” is even better.  Finally, the tunes that verge on progressive epics: “Suite Madame Blue”, “Crystal Ball” and “Come Sail Away” have the pompous complexity that punk rockers hated so much.  This album is a shining live recreation of some of rock’s most beloved music.

The 2018 CD reissue on BGO Records sounds brilliant with depth, and has a nice outer slipcase.  You’ll also get a nice thick full colour booklet with photos and an essay that goes right up to 2017’s The Mission.  BGO is a well known, respected label.  This reissue is a must.

4.5/5 stars

 

 

REVIEW: Styx – Come Sail Away: The Styx Anthology (2004)

STYX – Come Sail Away: The Styx Anthology (2004 A&M)

Styx need to get their albums remastered and reissued pronto.  In the meantime, you can Come Sail Away with The Styx Anthology.

The great thing about the Styx Anthology is that it covers virtually all Styx history, even the first four albums on Wooden Nickel records.  Each one of those early albums is represented by a track (two for Styx II).  Those early albums had some good material on them that usually only diehards get to hear.  “Best Thing” and “You Need Love” are bright and rocking, just like you expect from Styx.  “Winner Take All” and “Rock & Roll Feeling” are consistent toe-tappers.  The jovial harmonies, and lead vocals (by Dennis DeYoung and James “JY” Young) on these tracks could easily be mistaken for later, more famous Styx.  Don’t forget the original version of “Lady” from Styx II, their first big ballad.  Styx’s flair for the dramatic was there right from the first.  (Remember “Lady” as performed by the Dan Band in the movie Old School?)

Shortly thereafter Styx signed with A&M.  1975’s Equinox boasted hits galore.  You should know “Light Up” and “Lorelei”.  But Equinox was their last with founding guitarist John Curulewski.  He was replaced by a guitarist with prodigious talent and a voice to go with it:  Tommy Shaw.  Shaw’s “Crystal Ball” is one of the best songs from the album of the same title.  “Mademoiselle” and “Shooz” are not far behind.

Styx enjoyed an abnormally long period of great, classic albums in a row.  After Crystal Ball came The Grand Illusion, Pieces of Eight, Cornerstone and Paradise Theatre.  With a solid lineup they continued to crank out radio staples.  Their music became grander and more conceptual thanks to Dennis DeYoung.  Tommy Shaw and JY tended to provide balance with rockier songs.  Songs like Dennis’ “The Grand Illusion” are balanced out by Young’s “Miss America” and Shaw’s “Renegade”.  Sure, Shaw could write a ballad or two, but his are more rootsy like the acoustic “Boat on a River”.

Through “Come Sail Away”, “Babe”, “The Best of Times” and “Too Much Time on My Hands”, it is impossible to understate how hit-laden this CD set is.  “Blue Collar Man”, “Rockin’ the Paradise”…it’s seemingly endless!

Until it ends, right after “Mr. Roboto”.  Though their lineup was stable, Styx were volatile.  DeYoung was fired at one point for being too controlling.  Shaw threatened to quit if the song “First Time” was ever released as a single (it wasn’t and it’s not on here).  It came to a head for real with “Roboto”, from 1983’s Kilroy Was Here.  Though it went to #3, the tour did poorly and the band were not happy with DeYoung and his rock operatics.  Tommy Shaw stated that he couldn’t get into songs about robots (long before he wrote an album about Mars).  The Styx Anthology cuts you a break by not subjecting you to their last single before splitting, “Music Time”.

When Styx reformed in 1990 it was without Shaw, who was doing very well in the supergroup Damn Yankees.  He was replaced by singer/guitarist Glen Burtnik.  Burtnik’s single “Love is the Ritual” is a jarring change.  The seven years between it and “Roboto” are audible, as Styx forged a clear hard rock sound with the single.  Sporting synth bass and shouted “Hey!’s”, you couldn’t get further from the core Styx sound than “Love is the Ritual”.  With the new member singing, it’s hard to hear any similarity to Styx at all.  Dennis’ “Show Me the Way” has proven to be a more timeless song.  Although it resonated with Americans at the time of the Gulf War, today it is just a great song about keeping the faith.

Styx split again, but reformed with Shaw in 1995.  Unfortunately, founding drummer John Panozzo died from years of alcohol abuse and was replaced by the incredible Todd Sucherman.  “Dear John” is Sucherman’s first appearance on the disc, a tribute to Panozzo.  The somber Tommy Shaw ballad (from 1997’s Return to Paradise) simply had to be included on a Styx anthology.  The only Styx studio album ignored on the set is 1999’s Brave New World, and rightfully so.  Instead we leap ahead in time for the final song, featuring yet another lineup change, and one of the most significant.  Dennis DeYoung was let go and replaced by Canadian solo star Lawrence Gowan.  This has proven to be a fortuitous undertaking for both Styx and Gowan.  Gowan plays keyboards on “One With Everything” (from 2003’s Cyclorama), an epic six minute Tommy Shaw progressive workout.  It’s a brilliant song, and a perfect indication that for Styx, a whole new chapter had opened.*

Do yourself a favour. Go and buy Styx’s new album The Mission, and put The Styx Anthology in the basket too.  Then enjoy, and congratulate yourself for a great start on your Styx collection!

5/5 stars

* Two more lineup changes:  when bassist Chuck Panozzo fell ill, he became a part time bassist for Styx.  Glen Burtnik returned on bass this time and played on Cyclorama.  When he left again, he was replaced by Ricky Phillips from Coverdale-Page.

 

REVIEW: Styx – Styxworld Live 2001

STYX – Styxworld Live 2001 (2001 Sanctuary)

There are plenty of live Styx albums, the majority with current singer Lawrence Gowan.  2001’s Styxworld is as entertaining as the title implies.  It really does represent the world of Styx:  oldies, solo hits, and obscure tracks too.  Because the Styx lineup in 2001 included guitarist/singer Glen Burtnik, there are a couple songs he wrote that Styx don’t play anymore.

Styx have had a credible career, post-Dennis DeYoung.  Adding Gowan, a solo star in Canada, was a brilliant move.   Though Gowan and DeYoung don’t sound alike, Lawrence is capable of performing Dennis’ more dramatic hits like “Come Sail Away”.   You wouldn’t want that song dropped from the set!  But Gowan also adds his own solo material:  “A Criminal Mind” (from 1985’s Strange Animal) is more than welcome.  A great song is a great song, and “A Criminal Mind” has since become a part of Styx.

Credit should be heaped for including lesser-heard classics like “Boat on a River” in the set, just as good as any of the missing songs.  You’ll also hear “Rocking the Paradise”, “Miss America”, “Sing for the Day”, “Crystal Ball”, “Half-Penny, Two-Penny” and “Lorelei” (James “JY” on lead vocals).  Essentially the setlist was whittled down to songs co-written by Tommy Shaw or James Young, with “Come Sail Away” being the only solo DeYoung-written song.

You could fill a whole other album with missing songs like “The Grand Illusion” or “Renegade” but what makes Styxworld strong are the songs included in their place.  Like it or not “Love is the Ritual” was a minor hit for Burtnik-era Styx, and an effort seems to have been made to include everybody’s material.  A big hit (though not by Styx!) is “Sometimes Love Just Ain’t Enough” by Patty Smyth and Don Henley…written by Smyth and Burtnik.  It’s cool to have a Styx version though it’s shortened for the stage.  Of course there’s “Criminal Mind” by Gowan, and even the ballad “High Enough” by Tommy Shaw’s Damn Yankees.  Though it seems like a ballad-heavy set, there is plenty of rock and roll.

Check out Styxworld for a taste of this period of Styx history.  If you like Gowan, it’s a win.

4/5 stars

 

REVIEW: Deep Purple – The InFinite Live Recordings Vol. 1 (2017)

DEEP PURPLE – The InFinite Live Recordings Vol. 1 (2017 Ear Music)

The all-time kings of the live album have finally released…another live album!  It’s boldly titled The InFinite Live Recordings Vol. 1, implying that another live set isn’t far off.  The gimmick this time (aside from being 100% live with no overdubs, which is now the Purple norm) is that The InFinite Live Recordings Vol. 1 is only available on vinyl, or by re-buying InFinite in its new “Gold” European edition reissue.  If you’d prefer avoiding the double-dip, then the only way to enjoy The InFinite Live Recordings Vol. 1 is by spinning the triple 180 gram LP set.

So let’s do that.

This album is the complete Deep Purple set from Hellfest 2017 (June 16 2017 in Clisson, France).  The always fearless band opened with the brand new “Time for Bedlam” single.  The intro and outro are dicey (weird vocal sound effects) but then Deep Purple suddenly plows straight into “Fireball”.  Somehow Ian Paice transforms into his younger self and there is nothing lost.  Going back even further in time, it’s “Bloodsucker” from Deep Purple In Rock.

The oldies, like “Strange Kind of Woman” and “Lazy”, are more or less just filler.  Even though they’re always different, you’ve heard them so many times while the newer songs are fresh meat.  “Uncommon Man” is long and exploratory, while “The Surprising” and “Birds of Prey” are more than welcome on the live stage.  In particular, “Uncommon Man” and “The Surprising” are showcases for Deep Purple’s progressive side, sometimes taken for granted.  Both must be considered among the greatest Morse-era Purple songs.  Both stun the senses, live.

While there was a live version of “Hell to Pay” (from Sweden) on the fairly recent single “Johnny’s Band”, another one in the context of the set is cool because it naturally introduces Don Airey’s keyboard solo (listen for a hint of “Mr. Crowley”).  And that solo segues into “Perfect Strangers” after you place the third LP on the platter.

The usual suspects close out the set:  “Space Truckin'”, “Smoke on the Water”, “Hush” (with a detour into the “Peter Gunn” theme) and “Black Night”.  The reason Deep Purple get away with playing generous amounts of new material is because, without fail, they always deliver the Machine Head hits.

These live recordings were produced by Bob Ezrin, so you can count on great audio.  Why should you choose this over the numerous other Deep Purple live albums from the Morse era?  Because it is always a pleasure hearing new songs on the concert stage.  Deep Purple have remained consistent over the decades and each live album offers a brief snapshot of a set you might never hear again.

4/5 stars

REVIEW: Winger – The Very Best Of (2001)

WINGER – The Very Best Of (2001 Atlantic/Rhino)

Winger broke up in ’94, but reunited in 2001.  Part of the reunion entailed new music.  Before they finally released a new album (Winger IV), they tested the waters with one new song on The Very Best of Winger.  Yes indeed, you had to buy a “greatest hits” to get the new song.  At least Winger also gave you a Japanese bonus track for your money too.

New tune “On the Inside” was written for Pull (their third album and last before breakup) but recorded for Very Best Of.  It’s a chunky, heavy tune with splashes of anthemic keyboard in the chorus.  It really underlines that Winger could write and play with integrity when they wanted to.  Reb Beach’s solo is unorthodox and outside the box.  “Hell to Pay” is listed as an outtake, but it was actually released as a Japanese bonus track to Pull.  Stuff like this saves collectors for shelling out mucho dinero for a Japanese import.  Good sassy tune, and listen for that scorching outro.

Pull was a record that never got a shot, so it’s OK that the first chunk of tunes are from that album.  It deserved a second chance.  These are standout songs:  “Blind Revolution Mad” smokes white hot, and with depth.  “Down Incognito” has a bright, memorable chorus contrasted with groovy verses.  90s-style riffing worked perfectly on the track “Junkyard Dog”, a seven-minute thrill ride through different textures.  Winger were not playing it simple.  Even their ballads from that era have more heft.  “Spell I’m Under” has edge under those layered melodies.  Few songs are as starkly lovely as “Who’s the One”.

The Very Best of Winger takes a dive after the Pull material.  The CD is in reverse chronological order, which almost never works.  Yes, it highlights the most current sounding music, but at the cost of consistency.  Winger II: In the Heart of the Young was, let’s be honest, not good.  The ballads were sappier and the rockers too cheesy.  Only “Rainbow in the Rose” really fits on this set.  Past the dreck, the four singles from album #1 are included.  This means the CD at least ends on an up, though the ballad “Headed for a Heartbreak” is a bit anti-climatic.

Go for The Very Best of Winger if:

a) you want to check this band out, or

b) you want the rarities.

Your needs might be met by just buying Pull.

3.5/5 stars