The Cassette Chronicles – Julian Lennon’s ‘Valotte’

By JAY ROBERTS

The Cassette Chronicles is a continuing series of mini reviews and reflections on albums from the 1980’s and 1990’s. The aim of this series is to highlight both known and underappreciated albums from rock, pop and metal genres from this time period through the cassette editions of their releases. Some of the albums I have known about and loved for years, while others are new to me and were music I’ve always wanted to hear. There will be some review analysis and my own personal stories about my connection with various albums. These opinions are strictly my own and do not reflect the views of anyone else at Limelight Magazine.

JULIAN LENNON – VALOTTE (1984)

When I dug this album out of the Big Box of Cassettes, I was brought back to 1984 and reminded of the time when I first heard the title track to the album. I can’t remember if it was part of the regular rotation on 92 Pro FM out of Providence, Rhode Island or if it was on their Sunday morning broadcast of American Top 40 with Casey Kasem, but for some reason the song struck a chord with me.

But in all honesty, I really haven’t thought much about the song over the last 35 plus years. I never owned the album itself and while I’d heard “Too Late For Goodbyes” over the years, I had no current knowledge of the “Valotte” song. So it was a little bit of a disappointing surprise to me that as I heard it as an “almost-new” song, I was left wondering why I loved it so much back then. While I still think it is a decent song, I found that the track just had a different tone to me than I had remembered from back in the day. I don’t know if it just was that it seemed somehow slower in tempo than I remembered or what, but it just wasn’t the same to me.

But as that song faded, I had to quickly turn the page and get on with my impressions of the rest of the album. As I said, this was the first time I’d heard the official album in total so there was some discoveries to be made.

The first side of the album was packed with some really intriguing songs. “O.K. For You” had a earworm of a guitar sound to it. The track had an uptempo bounce to it, which was nice considering it followed the “Valotte” song, so the energy pick me up was a nice immediate change of pace. I also really got into the song “On The Phone” which featured a big band sound particularly in the middle of the song.

Unfortunately, I can’t say that about the song “Space”. I thought the presentation of the song was more than a bit hazy, as if Lennon was casting about for some definitive direction and just never really found it. Overall, I thought this one was kind of drag.

But Side One finished strong with “Well I Don’t Know”. It featured an uptick in the music’s pacing and the song, which was written for Lennon’s father John (and if I have to explain that connection further, stop reading this article!), ended up being a rather interesting musical nugget.

As for Side Two, that opened up with the aforementioned “Too Late For Goodbyes”. I’d like to say that I remembered that this song was on the album BEFORE I listened to it but I’d be lying. However, I did remember the song and whether it was due to actually having heard it over the years or just because it hit me stronger, it is my favorite cut on the album overtaking my initial belief back in 1984 that I liked “Valotte” more as a song.

I can’t say I was completely into “Lonely” or the closing piano based “Let Me Be” but I did quite enjoy “Jesse” and “Say You’re Wrong”, which had a crackling urgency fused with a really cool pop sensibility to it.

Julian Lennon has released six solo albums over his career, but Valotte is by far his most successful in terms of sales and chart success. I have to say that I had a great time experiencing this album for the first time. There may be songs on it that didn’t quite cut the mustard with me, but perfect albums being few and far between, it was still a thrill to discover new songs that actually did make my musical heart go all pitter-patter.

I know that fans of The Beatles will likely lay claim to some of the music’s influences belonging to the Fab Four, but if you like straightforward pop music (that would now be referred to as Adult Contemporary), you’ll find that Julian Lennon’s first solo album Valotte has him standing quite capably on his own two feet.

NOTES OF INTEREST: The Valotte album (which was certified platinum) was produced by Phil Ramone. His list of credits is both extensive and a who’s who of some of the biggest names in music history. He would win 14 Grammys for his work before his death in 2013.

The “Valotte” song hit #9 on the singles chart, while “Too Late For Goodbyes” went to #5. The latter is Julian Lennon’s most successful single. The videos for both songs were directed by the legendary movie director Sam Peckinpagh.

 

Appice Brothers bring ‘Drum Wars’ rock band to New Bedford, MA

Carmine and Vinny Appice, two demi-gods of the drums, have conquered the rock world for decades and are now conquering the world with their own rock show backed by a stellar band called “Drum Wars.” Besides the Appice Brothers, the band includes Jim Crean (vocals), Jimmy Caputo (bass) and Artie Dillon (guitar) and they will perform at the Vault Music Hall in New Bedford, MA, on Saturday, February 1, 2020, with special guest “Guitar Wars” featuring Paul Bielatowicz (of  Carl Palmer’s ELP Legacy and Neal Morse) and Ethan Brosh (of Fifth Angel). Purchase tickets HERE.

“Drum Wars” is not a drum clinic but a high energy, mind blowing LIVE rock CONCERT with legendary songs played with vehemence from throughout their careers.

Hear the greatest hits of Black Sabbath, Dio, Ozzy Osbourne, Rod Stewart, Blue Murder and more, performed by the brothers with the amazing “Drum Wars” band!

ABOUT CARMINE APPICE

Carmine Appice (Vanilla Fudge, Cactus, Rod Stewart, Ozzy Osbourne and Jeff Beck to name a few) is the recipient of numerous awards including Modern Drummer Hall of Fame, Hollywood Rock Walk of Fame, and dozens of gold and platinum selling records. Carmine co-wrote such monster selling hits as “Do Ya Think I’m Sexy” and “Young Turks.” He has broken new ground in every aspect of his career.

As a performer, as a teacher, and as a writer, he continues to inspire drummers and listeners throughout the world with his originality and his unwavering dedication to the art of drumming. In 2016, Carmine unleashed his book titled “STICK IT – My Life of SEX, DRUMS, AND ROCK ‘N’ ROLL.”

ABOUT VINNY APPICE

Vinny Appice’s unique, powerful drumming is marked not by his performances with a single group, but by his flawless musical contributions and drumming to an extensive list of rock and roll icons like Black Sabbath, Ronnie James Dio, Heaven & Hell, Rick Derringer, John Lennon and more!

A consummate performer and drummer, Vinny is also a brilliant clinician, performing clinics and master classes all across the globe, as well as making appearances in films and television. Vinny can be heard on rock classic albums like Black Sabbath’s “Mob Rules” and Dio’s “Holy Diver” & “Last in Line.”

The Vault at Greasy Luck is located at located at 791 Purchase Street in New Bedford. This show is 21+ with valid I.D. The venue is set within a former bank building featuring original vault doors and a truly historic feel. Patrons have raved about the superior acoustics and intimate setting.

The Cassette Chronicles – The Cult’s ‘Sonic Temple’

By JAY ROBERTS

The Cassette Chronicles is a continuing series of mini reviews and reflections on albums from the 1980’s and 1990’s. The aim of this series is to highlight both known and underappreciated albums from rock, pop and metal genres from this time period through the cassette editions of their releases. Some of the albums I have known about and loved for years, while others are new to me and were music I’ve always wanted to hear. There will be some review analysis and my own personal stories about my connection with various albums. These opinions are strictly my own and do not reflect the views of anyone else at Limelight Magazine.

THE CULT – SONIC TEMPLE (1989)

Before popping in the cassette to give The Cult’s Sonic Temple album a listen so that I could write this article, I had to think back to my recollections of the album from when it was first released and the subsequent tour opening for Metallica when I got to see the band perform live.

The album eventually spawned four singles and I actually did quite enjoy them all on their own. Whether on MTV or the radio, each time “Fire Woman” started playing my ears perked up. The other singles put out had a similar effect. But the strange thing is that I remember being more than a little disappointed when I actually got my hands on a copy of the album. I remember thinking that the rest of the material just didn’t really do much for me.

Now that I’ve given this now thirty year old release a new listen, I’ve had a pretty drastic change of opinion about the album as a whole. But there was a 2nd reason why I kind of gave up on The Cult after this album and that goes back to when I saw them live.

I’ve told the story to people before so anyone that knows me in real life will likely already know what I’m about to write here. Frankly put, singer Ian Astbury was the LAZIEST live performer I’ve ever seen. When I saw them open for Metallica, I noticed that something was off with the vocals and then I started doing that damn counting thing I sometimes do. Sure enough, Astbury was fudging his vocal performance. No, not faking it or anything, but he was actually skipping every third word of the lyrics. Didn’t matter what song, I counted them all as soon as I noticed. He would skip every third word because the crowd was singing along and filling in the vocals for him. For some reason, this just really annoyed the crap out of me and it soured me not only on the band but the album as well. I still liked “Fire Woman” but I ended up getting rid of the album over my probably unreasonable attitude about the lack of full vocal performance in a concert.

Yes, it is special kind of dumb reasoning on my part, but that’s how it was for me then. However, like I said earlier, I’ve had a big change of opinion about things now.

The first side of the album is top heavy with all four of the released singles being on it. I mentioned “Fire Woman”, which remains a purely powerful ball of energy that continually punches you in the gut as it blazes a rocking path. The music strikes fast and hard (Billy Duffy’s guitars on this song and the entire album are outstanding) and Astbury’s vocals were and remain a huge hook for the song.

The song “Sun King” was more of a rock radio type of single so it might not be quite as well remembered but I was struck by just how much I enjoyed it this time around. As for “Sweet Soul Sister” and “Edie (Ciao Baby)”, they are just those earworm kind of songs that always key memories back to the first time you heard them.

What did surprise me a bit with Side One was the only non-single track “American Horse”. The song is rocking but I was kind of floored with how much I ended up liking the phrasing of the vocals/lyrics from Ian Astbury. It left me wondering why I didn’t hear that when I first had the album.

Side Two was a slightly different mix of songs for me. I wasn’t all that sold on the opening “Soul Asylum” or “Wake Up Time For Freedom”. Both songs just didn’t quite get over the hump for me. But the good news is, the rest of the songs really worked well. The cassette version of the album contained a bonus track called “Medicine Train” and it was a killer rock track that ended up closing the album out on a high note, but it was the middle of Side Two that did the really heavy lifting. “Automatic Blues” and “Soldier Blue” were both straight up rock songs. Start to finish, each really knew how to find its way into a listener’s blood and get them fired up.

But what really did it for me and is probably the second best song on the entire album (behind “Fire Woman”, of course) was the song “New York City”. There’s just something about this song, a hard driving rocker fueled by storming guitars and a thrilling vocal performance that drove it home for me. It’s a song that probably should’ve been at least considered for being released as a single because there’s just no reason that more people shouldn’t have heard this at the time. Which is a bit ironic coming from me since I completely missed out on all these songs the first time around because I was apparently unable to “hear” what was going on then.

So despite my decades old misgivings about the album, I can honestly say that I’ve had a huge change of heart about Sonic Temple as an album in full. I didn’t like the album tracks that much when it first came out and now I just want to pop the tape back in and play it all over again. If you are reading this article, you should probably think about doing that as well.

NOTES OF INTEREST: The album is celebrating the 30th anniversary of its release this year. The limited edition reissue of Sonic Temple came out in October 2019 and it has 5 CDs that includes a remastered edition of the album, rare tracks, a live album and more.

Iggy Pop sang backing vocals on the song “New York City”.

Sonic Temple was the last album the band recorded with bassist Jamie Stewart. He left the group in 1990. He appeared on stage with the band to celebrate the 25th anniversaries of the Love and Electric albums, but is otherwise retired from the music industry since 1994.

The Cassette Chronicles – Kiss’s ‘Lick It Up’

By JAY ROBERTS

The Cassette Chronicles is a continuing series of mini reviews and reflections on albums from the 1980’s and 1990’s. The aim of this series is to highlight both known and underappreciated albums from rock, pop and metal genres from this time period through the cassette editions of their releases. Some of the albums I have known about and loved for years, while others are new to me and were music I’ve always wanted to hear. There will be some review analysis and my own personal stories about my connection with various albums. These opinions are strictly my own and do not reflect the views of anyone else at Limelight Magazine.

KISS – LICK IT UP (1983)

I’ve been on a quest to get all of the Kiss albums added to my music collection. While I’d prefer to have them on CD of course, I’m doing this on the cheap so I’m not always able to find them in that format at a price I want to pay. So I’ve been picking some of the albums up on cassette which serves not only to get the album into my collection, but gives me another article in this series to write about.

Such is the case with Lick It Up. But before I talk about this album, I want to mention that I’ve been listening to the band’s album Destroyer a lot lately. That’s a CD edition and I’ve been really impressed with how much I like not only the classic hits on that album but the album tracks were pretty darn good as well. This plays a bit into my thoughts on Lick It Up so I thought I’d mention it now.

Since I’ve never owned the album before, I pretty much thought that the only song I’d know was the title track. The song is definitely worthy of its status as one of Kiss’s best known songs. What I didn’t realize until I listened to the album for this piece was that there are two other songs on the album that I didn’t realize I knew.

I’d hesitate to call them classic songs in the same vein as “Lick It Up”, but I would have to say that the reason I am so familiar with “Young And Wasted” and “All Hell’s Breakin’ Loose” is because they got played on the radio both back in 1983 and on classic rock stations to this day. As I said, I’ve never had the album before now so it wasn’t like I realized those particular songs made up part of the album’s track listing. But both of the songs immediately “rang a bell” for me and you just know that it had to be due to 94 HJY, the radio station I listen to all the time.

The funny thing is that the album started off kind of slow for me. While both “Exciter” and “Not For The Innocent” were full-on rockers, I have to say that neither song really fully captured my attention. The latter song had an edgier tone to the vocals but even that wasn’t enough. But then came “Lick It Up” and the album took off from there. I already mentioned “Young And Wasted” but the first side of the album closes with another ballsy rocker in “Gimme More”. I know that the title might conjure up the idea that it is simplistic and nothing you haven’t heard a million times before, but for some reason the song just struck a chord with me.

The second side of the album got off to a great start with the “All Hell’s Breakin’ Loose”. I’m mentally slapping myself over not realizing the song was on this album before now. “A Million To One” followed that up and the uptempo track was pretty darn good as well.

However, if I’m going to pick a song that is the underappreciated gem of the album it has to be the song “Fits Like A Glove”. It is a kick-ass song that features some fantastic guitar work and the song’s fast pacing made the experience of listening to this track for what I think is the first time a supremely enjoyable “discovery” for me.

The outstanding start of the second side hit snag with the song “Dance All Over Your Face”. For me, it kind of started with what I think is just a stupid title and the song is pretty generic and forgettable otherwise.

The album closing “And On The 8th Day” goes a long way toward finishing Lick It Up on a high note for me though. Of particular note was how the symbolism of the song’s chorus resonated with me. It’s a “rock and roll forever” kind of anthemic vibe but it just seemed to catch me at the perfect moment.

The Lick It Up album may feature only one hardcore classic track but if you haven’t heard the album in full before, I think you’ll find that there is a whole lot of stellar material that (like the Destroyer album) will leave you believing it is one of Kiss’s better start-to-finish releases.

NOTES OF INTEREST: Paul Stanley has been quoted saying that he thinks the reason the album sold so well was less to do with the music and more because it was the first album with the band taking the makeup off.

Though the album did achieve platinum status, the title track is apparently the only song that still gets played regularly in concert.

Rick Derringer played the solo on lead off track “Exciter”.

Despite co-writing 8 of the 10 songs on Lick It Up, guitarist Vinnie Vincent was out of the group before their next album due to disputes with Gene and Paul over money and his role with the group. However, in recent days there’s been talk of Vincent (among other ex-members of the group) taking part in the final Kiss show when their “End of the Road” tour comes to a close.

Carmine Appice reflects on the history of Vanilla Fudge and his career

By CHRISTOPHER TREACY

Creatively speaking, Vanilla Fudge knew precisely what they were doing. They had a plan.

The quartet will always be remembered for their mind-bending reading of the Holland-Dozier-Holland classic “You Keep Me Hangin’ On,” originally made famous by The Supremes. The track epitomizes their strength in laying bare the emotional core of pop songs that’d previously gotten diluted in popular, AM-radio-friendly treatments.

“There was a fad around that time, particularly throughout New York City and Long Island,” said revered drummer Carmine Appice over the phone from Manhattan, preparing for a run of shows that brings Vanilla Fudge to the Narrows Center for the Arts in Fall River, Mass., on Saturday, November 16, with special guest Joe Merrick. (Purchase tickets HERE).

“We had The Vagrants with Leslie West, The Hassles with Billy Joel, The Rich Kids… a whole scene was going on around the concept of what were called ‘production numbers.’ It involved taking the original hit version of a song, slowing it down and making it more dramatic by changing the stage lighting and shifting the overall dynamic. We grabbed onto an additional aspect of that by looking at the lyrics. What do the words say? We created an atmosphere with that. These were songs with what I call ‘hurtin’ lyrics’ — mostly about love, and not all positive and upbeat sentiments. On the radio, however, it’d be an upbeat song with these sad lyrics. So, Vanilla Fudge sought to put the drama back into these songs.”

It makes total sense. While the needling repetition of a single guitar note perpetuates a sense of anxiety in The Supremes’ 1966 version of “You Keep Me Hangin’ On,” the signature Motown stomp remains front and center, carrying the listener away from the protagonist’s headspace and onto the dance floor. Vanilla Fudge’s version, on the other hand, portrays the subject as if they’re under a crushing emotional weight. The way that keyboardist Mark Stein’s eerie organ notes suddenly intersect with Appice’s cracking snare and crashing cymbal is startling as hell. And then, of course, there’s the flipped gender script from the pop version. It’s overwrought, it’s outrageous and — to this day — it works.

“We cut that song in one take,” Appice recalled. “We did it in mono. Everything was recorded all at once. It’s seven-and-a-half minutes, and it totally changed how people thought of the song. We did something similar with songs by The Impressions, The Beatles, many others. We’d set them in a churchy atmosphere, almost a lonely, cemetery vibe. We had a pattern with the vocals where Mark would start, then each of us would get added in and build it up to a frenzy.”

Vanilla Fudge’s debut album was released in the summer of 1967 and featured the single “You Keep Me Hangin’ On.”

Unfortunately, producer George “Shadow” Morton derailed the band’s creative plan. Morton eschewed the musical nuances of their debut in favor of far-flung concepts for the follow-up, 1968’s The Beat Goes On, which he made from a hodgepodge of historical spoken word segments and (mostly) snippets of actual songs. What was once outrageous now seemed indulgent. While the album initially charted well on the strength of its predecessor, Appice blames it for not allowing the band to reach the next level of an otherwise promising career.

Unlike countless underdog albums with which artists have made peace in hindsight, The Beat Goes On will not become a source of late-breaking pride for Vanilla Fudge.

“If it was going to happen at all, that should’ve been, like, our eighth album,” Appice said with a chuckle. “There we were with a big success, and we were stupid about it. We didn’t know any better. Sgt Pepper was big, but that was all music, whereas this was almost all talking! FM stations were just beginning, experimenting with the format, and they’d sometimes play entire albums. Folks were calling up and asking them to take it off because it was depressing.”

Appice says that while they had other, better songs in the can already, Morton seemed determined to steer the album into the ground.

“If we’d had another hit single, it would have set a better foundation for us,” he said. “Instead, we had to rush in and do something quickly to save our asses, which turned into Renaissance, which had other production issues — no clarity, it was bottom-heavy… wasn’t what it should have been. Near the Beginning, which we produced ourselves, was much better. The album did well, and we got to go on Ed Sullivan again.”

It wasn’t enough to keep Vanilla Fudge from imploding in 1970, though they’ve reunited multiple times since. And if it wasn’t clear then, it certainly is now: the band’s considered highly influential. They hung out with Hendrix, shared stages with Led Zeppelin, and are cited as an inspiration by members of Deep Purple, Styx and Yes, among others. The hindsight accolades for helping bridge the gap from psychedelia to something harder are a large part of the Vanilla Fudge legacy.

Meanwhile, Appice’s drumming prowess has kept him perpetually busy. He credits quality management for finding ways to make his ideas materialize, particularly in the ’80s. His diversified career includes a wildly successful series of drum instruction books (the first of which he published in 1972), drumming clinics, and ‘Drum War’ events with his brother, Vinny Appice (Dio, Black Sabbath). He co-founded the bands Cactus, Blue Murder, King Cobra, and a supergroup, Beck, Bogert, and Appice. He had a fruitful creative partnership with Rod Stewart, recording, touring, and co-writing the hits “Da Ya Think I’m Sexy” and “Young Turks.” He also toured behind Ozzy Osbourne’s Bark at the Moon album in 1983, but Sharon Osbourne fired him (the details are in Appice’s 2016 book, Stick It). Along the way, in addition to other solo projects, he produced a series of Guitar Zeus releases, which feature him playing drums with a host of world-renowned guitarists, from Queen’s Brian May to Yngwie Malmsteen to Ted Nugent. It’s an impressive resume.

Vanilla Fudge is currently working on a new collection of all Supremes songs, including a cover of “Stop! In the Name of Love,” which Appice says will feature original bassist Tim Bogert, (Pete Bremy has played bass in Vanilla Fudge for over a decade alongside originals Stein, Appice, and lead guitarist, Vince Martell). It will be their second project to pull material from one artist in particular, the first being an all Led Zeppelin set entitled Out Through the In Door, from 2007.

With new management, a new stage setup, and the seeds of a campaign for Rock and Roll Hall of Fame consideration, the quartet seems determined to make the most of its stake in rock history.

“Now, just like back then, there’s no other band quite like Vanilla Fudge,” he said. “No other band has the same dynamics combined with the quality of players. It’s enabled us to stick around. In ’67, we were also lucky. We came at the right time; everything was experimental, folks were finding new ways of playing rock, blending it with jazz and improvising, pioneering new drum sounds… I helped take that to the next level. I’m one of the only drummers left from that era.”

The Narrows Center is located at 16 Anawan Street in Fall River, Mass. Tickets to this show can be purchased online by clicking HERE or by calling the box office at 508-324-1926. To purchase tickets in person, box office hours are Wednesday through Saturday, 12 noon to 5 p.m.

 

The Cassette Chronicles – Dokken’s ‘Back for the Attack’

The Cassette Chronicles is a continuing series of mini reviews and reflections on albums from the 1980’s and 1990’s. The aim of this series is to highlight both known and underappreciated albums from rock, pop and metal genres from this time period through the cassette editions of their releases. Some of the albums I have known about and loved for years, while others are new to me and were music I’ve always wanted to hear. There will be some review analysis and my own personal stories about my connection with various albums. These opinions are strictly my own and do not reflect the views of anyone else at Limelight Magazine.

DOKKEN – BACK FOR THE ATTACK (1987)

If we are marking specific eras of time, the year 1987 is probably a good way to mark the high point of hard rock and heavy metal. At least in terms of their commercial peak anyway. You had landmark albums from Guns ‘N Roses, Whitesnake and Def Leppard. Those three albums alone would make any child of the 80’s metal years flash back to when all was right with the musical world.

But what surprised me was just how much I think Dokken’s Back For The Attack compares favorably with any of those releases. To be sure, the album was commercially successful but it was only certified platinum so it might be easy to write the album off as an also-ran in a side to side comparison of sales figures with those other bands.

I’ve listened to this album and loved it for a long time, but I’ve never really listened to it for any kind of critical piece. So doing so for this article was a semi-new treat for me.

What I found was that my long held belief that this is Dokken’s best album remains true to this day. There’s not a bad song amongst the 13 tracks included on the cassette. Strikingly, there’s not really much in the way of a power ballad either. I know that by 1987, that was almost a universal law but while some people might simply declare the song “Heaven Sent” to fall under that banner, it really isn’t. In fact, it has such an effervescent soundtrack that I caught myself thinking that the song was a prime example of rumbling sonic thunder. It really does leave listeners in its wake.

I think what is underestimated most about this album is that for all their interpersonal faults and feuds, Don Dokken, George Lynch, Jeff Pilson and Mick Brown pulled off a songwriting coup. Each of the tracks were written by some combination of the individual members and the passion that fueled the band drama was also poured into the songwriting as well.

The first side of the album opens with “Kiss Of Death”, a song that found Dokken getting a bit topical as the subject of the song dealt with AIDS at a time where you wouldn’t really expect a band of the metal genre to tackle that subject. It might be stating the obvious given his acknowledged guitar god status, but the guitar work on this song will have you renewing your appreciation of George Lynch. The man shreds with everything he does, but when you haven’t listened to any of his work in a while, I know that I find myself surprised all over again. And when you hear the “Mr. Scary” instrumental, you find yourself picking your jaw off the floor. More than 30 years after it was released, that song just continues to amaze.

The album had three singles released from it and “Prisoner” is the only one that is on Side One. As with the rest of the album, I loved the song but I didn’t remember it as a single. I could’ve sworn that “Heaven Sent” was a single but not according to the information I found online as I researched the article.

“Night By Night” is a pretty darn good song as well, but the real treat was rediscovering “Standing In The Shadows”. When I first bought the album, it was one of the songs I liked the most but I had kind of forgotten that. It’s a bit more understated than other tracks on the album but if you want a song that is an underappreciated gem, I’d go with this one.

When you flip the album over to Side Two, you are hit with the song “So Many Tears” and immediately the rocking nature of the material continues onward. One of the other singles from the album was the song “Burning Like A Flame”. I remember watching the video a lot on MTV but as I listened to the song here, a different memory surfaced. I remember reading an article in a music magazine that had the writer on hand for the filming of the video. I can’t remember which magazine it was, but the memory did resurface as the song played.

I don’t know how other fans feel about the song “Lost Behind The Wall”, but the tone of the song struck a chord with me. It made me want to see the song expanded upon somehow, like there was more to the story of the song or something. Funny how you get that kind of vibe so far down the road from when you first heard the track.

The album continued on with more top notch rockers like “Stop Fighting Love”, “Cry Of The Gypsy” and “Sleepless Nights”, but it was the closing number “Dream Warriors” that finished the album off on a high note for me.

The song was originally released a few months earlier as the title cut on the soundtrack for the horror movie Nightmare on Elm Street 3: Dream Warriors. It was a pretty successful single for the band and seeing it added to the Back For The Attack album wasn’t a real surprise. The funny thing about this song was that it was pretty much the biggest reason I went to see the movie in the first place. I’ve never been a big fan of horror movies, but I did see the 2nd movie in the Nightmare on Elm Street series and so when I found out Dokken was doing a song on the soundtrack, I knew I would go see it. Oddly enough, I think Dream Warriors was pretty much the last horror movie I ever bothered to go see in the theaters.

It might seem strange that an album that sold over a million copies strikes me as being underappreciated by rock fans at large but I just don’t think Back For The Attack gets the kind of love or reverence that it should. This is where Dokken put it all together and produced from start to finish their absolute best album!

NOTES OF INTEREST – While the band is still touring to this day, the Dokken lineup now features just singer Don Dokken from the classic lineup on a regular basis. There has been some reunion dates the past few years with the original lineup but drummer Mick Brown is at least temporarily retired now, Jeff Pilson is in Foreigner and George Lynch has a host of projects including work with Michael Sweet of Stryper and the band KXM with Dug Pinnick of King’s X and Ray Luzier of Korn.

I never got to see Dokken live during their best years. After this album and the succeeding live release, they broke up amidst that recurring feuding I mentioned before. But when they got back together (the first time anyway), I saw them live thanks to a friend having a free pass for me. I think it was in 1997 but I can’t recall for sure.

Back For The Attack has been reissued twice on CD. The second reissue came via Rock Candy Records but both versions of the reissue added the “Back For The Attack” song as a bonus cut. The first three Dokken albums (Breaking The Chains, Tooth And Nail and Under Lock And Key as well as the live album Beast From The East have also been given the reissue/remaster treatment from Rock Candy as well.

Music and entertainment coverage since October 2006!