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.

HINDU LOVE GODS – HINDU LOVE GODS (1990)

A couple months ago, I found myself at my local record shop, Purchase Street Records, helping to sort through a big collection that the store had acquired. It contained CDs, vinyl records and cassettes. The majority of the items were of the mainstream rock variety. Which is great for the store as plenty of customers come in looking for that stuff.

For me, I either have a lot of the stuff that was to be found in the collection, or it was stuff I wasn’t interested in. However, I did find one little gem while sorting the cassettes. Yes, you guessed it! It was a copy of the self-titled album from the Hindu Love Gods. And it wasn’t some beat up barely holding on copy either. The cassette, the holder and the insert are in damn fine condition.

I’d known of the album’s existence for a long time but I’d never seen a copy of it, in any format, out in the wild. Unsurprisingly, I had to pick it up.

The Hindu Love Gods featured three members of R.E.M. which wasn’t the real selling point of the album for me. Rather it was the fact that the fourth member of the group was none other than one of my all-time favorite artists…WARREN ZEVON.

While my love of hard rock and heavy metal will always ring true, singer-songwriters like Zevon are always something I am interested in.

I’d actually heard the cover of the Prince song “Raspberry Beret” from the album years prior because I have a copy of the Zevon anthology I’ll Sleep When I’m Dead. However, since I could never find a copy of the album in the wild, I’ve never heard the full release until now. And hey, any chance to hear what amounts to essentially new Warren Zevon material is A-OK in my estimation. Even if the album is about 36 years old by the time I listen and write this article.

Something I didn’t realize before researching the album was that it was recorded at the same time as Zevon’s Sentimental Hygiene release. The R.E.M. guys (Peter Buck, Mike Mills and Bill Berry) were playing on that album and these covers came about during those sessions, though they were never considered for release until after the fact.

The ten songs on the album are mostly covers of blues songs and while I’m not the most devoted blues fan, I do like some stuff so it was going to be a definitely interesting musical journey for me.

The first side of the album opens with two Robert Johnson songs. The opening track is “Walkin’ Blues”. I was immediately taken with the foot stomping beat to the music but I loved the way Zevon’s vocals came through. While the vocal track is clearly identifiable as Zevon, there’s a strong raspier tone to the take which gives an added dimension to the song in full. While the songwriting credit for this version of the song is given to Robert Johnson, the song in its original form was originally written by blues legend Son House in 1930.

The second track is one that I’ve actually heard a version of before, but not this particular one. The song “Travelin’ Riverside Blues” was covered by Led Zeppelin back in 1969. The difference between that version and the Hindu Love Gods version is dramatically different but again, the constant thump of the music’s beat draws you in while the vocals for the song have starkly different shading. Robert Plant and Warren Zevon were definitely far apart in vocal styles. In fact, for Zevon’s version, I thought that at times the vocal take got a little buried during the more intensely delivered portions of the music. The song is good but it isn’t one that I completely adore regardless of whose version I’m listening to.

Next up is the cover of “Raspberry Beret”. As stated above, I’ve heard the song plenty of times over the years and I think it comes as little surprise that I like it. Oddly enough, I also like the original Prince version a lot as well. It’s just a great rendition and I can sure understand why it got included on that Zevon anthology.

There’s a lot of story to go with the song “Crosscut Saw” but I don’t want to delve into too deeply here. I suggest looking it up on Wikipedia for all the details. But there’s been plenty of recordings of the song from the original Tommy McClennan version in 1941 and then further recordings by Tony Hollins and Albert King. It’s been covered by both Eric Clapton and Stevie Ray Vaughn as well. I’m not sure how blues fans took to the Hindu Love Gods rendition of the song but I appreciated the rapid nature of Zevon’s vocals a lot. The music isn’t quite as pounding as the first couple of songs on their album but it is still very lively and uptempo. In all, a damn fine track.

The first side of the album closes out with the song “Junko Pardner”. It’s another song that has been covered numerous times by a wide range of artists including its original performer James Wayne, Dr. John and even The Clash and actor Hugh Laurie.

According to Dr. John, the song served as an anthem for the criminal set and was sung in the Angola prison in Louisiana. The song has a kind of jaunty thematic sensibility to it which you might tend to get swept up into. There’s a couple of stuttered stop and starts toward the end that make you think the song was over before it actually was but man, this song really gets your foot tapping.

The second side of the album kicks off with the song “Mannish Boy”. The creation of the song is amazing as it was co-written by both Muddy Waters and Bo Diddley (along with Mel London). Waters first recorded it. But the nature of the song itself goes far beyond the sexual boasting that makes up at least part of the lyrical content. Again, check out the song’s Wikipedia entry for the full story. As for this particular rendition, given the nature of the song’s meaning, it’s a little weird to hear four white guys performing the song. But setting that aside for the moment, it’s a damn cool track. The guitar work is phenomenal and I just love the vibe the song gives off. And yes, the way Zevon delivers his vocals helps make the song work that much more for me. At nearly seven minutes long, it is the lengthiest track on the album and I have to say, not once did I felt the song was dragging. And that’s likely due to the fact that throughout the song, that continually great guitar work keeps you coming back to see what’s coming next.

The Willie Dixon written “Wang Dang Doodle” is up next and while it was first recorded by Howlin’ Wolf, there’s been an incredible amount of artists covering the song over the years. As for this album’s version, you get a fast moving uptempo track with the music’s sense of rolling theatrics keeping you bouncing right along. I’m not sure who’s playing the harmonica on the track but that instrument floating in and out of the song made for a great way to keep attracting my ear to the song as a whole.

The song “Battleship Chains” has an interesting pedigree. Written by Terry Anderson and recorded originally recorded by his band The Woods, the song really got a push when it was covered by The Georgia Sattelites on their self-titled debut album. I haven’t heard that version but I loved the rocking tempo of this rendition and the visuals the song lyrics conjure up. It’s got a really hard rocking feel to it that endears itself to me a whole lot.

While most of the songs on the album are blues covers, the last two tracks are from other musical styles. The song “I’m a One-Woman Man” is a country track. And I thought it was superb. Originally done by the co-writer Johnny Horton, the song was a Top 10 country hit in 1956. It’s been further covered by such artists as George Jones, Glen Campbell and Josh Turner. I’ve never heard any of the other versions of the song but regardless of that fact, I was really taken by this version. It sounds like it could’ve actually been a song that Warren Zevon would’ve written himself. Given the range of styles Zevon wrote in during his career, this instantly reminded me of some of his original material. Plus, it is a strongly crafted song on its own merits and I can understand why it was so successful.

The closing song is a folk track by Woody Guthrie. The song “Vigilante Man” hired thugs during the Dust Bowl era in America. It’s got an uptempo musical score for such a dark topic. I like the song and the way it ties into literature as well as both country and blues music gives it a strong pedigree in its actual creation.

One thing that I’m going to have to do when I have some extra time on my hands is to go back and listen to the original versions of each of the ten tracks on this album. I didn’t feel the need to do so for this article but my own curiousity will probably bug me until I do it anyway.

The performances on the Hindu Love Gods album are top notch. The R.E.M. guys are clearly great players and as I’ve stated, I love Warren Zevon’s artistry always. Covering such a cross section of blues, country and folk songs might not always be the easiest thing to do but I think they did a great job. It may have taken me a very long time to find a copy of this album for myself but now that I’ve got it and got to listen to it for myself, this is one kickass album!

NOTES OF INTEREST: While the Hindu Love Gods original release was less than successful (the album peaked at #168 on the Billboard album chart), the interest in the album over the years must’ve paid off somewhat as it received a vinyl reissue to coincide with the 2025 edition of Record Store Day.

The band drifted apart due to music business issues. According to the album’s Wikipedia page, Warren Zevon and Peter Buck stayed in touch for a few years but even that ended. Zevon would say that there was resentment from the REM guys which Buck would seem to have confirmed by saying Zevon’s management had screwed them over.

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.

RICK SPRINGFIELD – SUCCESS HASN’T SPOILED ME YET (1982)

Rick Springfield’s sixth studio album, Success Hasn’t Spoiled Me Yet, came a year after his breakthrough album Working Class Dog. I wrote about the latter album just a couple articles back and it was due to the fact I was seeing Rick Springfield in concert for the first time on the day that article was posted.

As it happens, I enjoyed his set a lot (even though we missed the first two songs played) and that kicked off an urge to hear more of Springfield’s albums. My friend Jeff Hogland down in Georgia suggested I check out the album Living in Oz but I wanted to go right to this follow up album.

Playing up the success angle on the album’s cover art, Springfield’s dog is pictured once again looking as if he’s enjoying the fruits of his “labors”.

It’s an amusing notion to begin the album off with, but then you get to the actual music portion of the release and it really gets interesting.

The album was successful in that it was certified platinum. But that was less than the sales figures for the Working Class Dog so clearly there was a drop off.

Initially, I thought I’d never heard any of the songs on the album because I’d never listened to it before. But among the three Top 40 hits is one of Springfield’s biggest hits “Don’t Talk To Strangers”.

Apparently conceived due to Springfield’s paranoia that his girlfriend was cheating on him when he was out on tour (where he has stated he was doing the same thing), that “fear” ended up giving rock fans an all-time classic track. The song hit #2 on the singles chart and is still a huge part of Springfield’s concert set list.

It’s the first song on Side Two of the album and it’s a pretty darn good song. When going to that concert a few weeks back, I thought we were going to miss the song because all the set lists I’d seen leading up to the show I went to had it being played as the first or second song in the set. But it got moved to later in the set for the show I went to with my friend George Dionne and so we got to see it in full. 

While the song is still uptempo, it isn’t quite as fast as some of Rick Springfield’s other hits but that slight sense of restrain gives the track enough of a difference to separate it from his other classics.

But as for the rest of the material, I was definitely right in the assertion that I’d never heard of it before.

There’s twelve songs on the album split evenly with six songs between each side.

The first side of the album opens up with the song “Calling All Girls”. It pretty much kicks off in high gear with no real intro to it. I liked the uptempo rocking nature of it, though it didn’t seem to have quite the same kind of hook to it that I was expecting. 

I don’t know if it was planned or if it just happened by cirumstance, but the opening of the song “I Get Excited” has the same opening guitar line that was used on “Jessie’s Girl”. You could dismiss it as happenstance but given that it was released as the third single (hitting just #32 on the singles chart) from the album, it seems like they were kind of being a bit dishonest or at least desparate to do a reprise of that particular guitar line. I know it distracted me from really hearing the actual song the first time. It kind of left a bad taste in my mouth to see that Springfield essentially plagiarized himself.

So here we are about to listen to the third track of the album, and I haven’t really been all that sold on the album’s first two tracks.

Thankfully, I thought “What Kind of Fool Am I” was actually pretty damn good. It was the second single from the album, peaking at #21 on the singles chart, but I thought it had a bit more gravitas and a way better musical hook than the first two song.

While keyboards dominate the intro and most of the musical soundtrack of “Kristina”. There’s plenty of guitar in the mix as well. This one is high energy and rocking throughout which I did like though at times it flirted with going over the top.

For “Tonight”, the tempo starts out a bit slower through the first verse. The lyrics start out describing two people in a workplace before morphing into what happens between the two people AFTER work. The tempo rises into a more rocking burst in the song’s choruses but I liked the steady vibe in the main lyrical passages as Springfield tells the song’s story with the lyrics seeming to convey a much more potent story than what came before it on this album.

The last song on Side One of the album, “Black on Black” started out with the bass having the dominant level in the song’s mix. Of course, then it started sharing the spotlight with all the other instrumentation. It’s an interesting song because it is a cover song that I’ve not heard the original version as yet. It’s got a lively uptempo feel to it. It’s probably not a song I will find myself going crazy over but it’s a solid run through at the least. Oddly, I thought the production on Springfield’s vocals reminded me of how the vocals sound on albums by some other band but I couldn’t think of who exactly that was.

After talking about “Don’t Talk To Strangers” earlier in the article, it’s time to talk about the rest of Side Two of Success Hasn’t Spoiled Me Yet. I mentioned that “Don’t Talk To Strangers” is a bit slower in tempo but If you want more of a speedy number, the song “How Do You Talk to Girls” fits the bill. It’s rocking with a mix between the guitar rock and poppish keyboards. And it is delivered with a focused and relentless intensity. 

One of the reasons the Living in Oz album was suggested to me as a Springfield album to check out was the assertion that the lyrics showed a new level of maturity to them. If I end up writing about that one, I’ll have to remember to listen for that. But on this album’s song “Still Crazy For You”, I found it interesting to hear the line, “But I fell victim to a parallax view…” Say what you want, it’s not many artists that will work in the word “parallax” into a pop type of song. But man, I gotta tell you that I really dug this song. I know that the song’s title might not be all that high concept, but the actual song is amazing. 

Between the slower lyrical passage with a spare guitar line accompanying Springfield’s vocals before the song blows up into a more grandiose track in the song’s repeated choruses, this song really had me hooked all the way through. If I was making my own playlist of favorite Rick Springfield songs, “Still Crazy For You” would be on it.

“The American Girl” has the same kind of slow then fast song structure to it as “Still Crazy For You” but the song’s lyrical content or perhaps subject matter is drastically different. As you might expect by the song’s title, this one is an ode to American girls as a whole. It’s fine for what it is and there is definitely a cool vibe and hook to the song.

“Just One Kiss” is solidly entertaining rocker. When the guitar playing is given the spotlight during the song is when the track shines best. Between Springfield’s delivery in the main lyrics and the enhanced backing vocals for the song’s chorus, it really grabs your ear and provides plenty for you to listen to.

The album closes out with the song “April 24, 1981”. I’m not sure it has anything to do thematically with the rest of the album though. I say this because the song was written due to Rick Springfield sharing a close bond with his father. And this track, which uses the date Springfields’s father died as its title is a tribute from son to father. It’s a brief song at just over ninety seconds, but it is a pretty powerful piece. He would write another tribute to his father, “My Father’s Chair”, on his 1985 album Tao.

Here’s something I noticed about this album. It seemed to really move fast. I started playing it and soon it was over. But when I looked it up online, Success Hasn’t Spoiled Me Yet was about four minutes longer than Working Class Dog. I can’t put my finger on why it felt this album moved faster even though it has two more songs that its predecessor. 

After listening to the album, I can see why it wasn’t as successful as the one that came before it. But while I had some issues with the songs that got the lion’s share of the acclaim from Success Hasn’t Spoiled Me Yet (not counting “Don’t Talk To Strangers” which is a great song), what makes this a solid album for me is the strength of the songs that are considered “album tracks”. Those songs range from good to great and there’s even what I think could be an all-time classic too.

So while I can’t say that I come away from this album quite as enamored as I was with Working Class Dog, I definitely can appreciate all that is good with Success Hasn’t Spoiled Me Yet.

NOTES OF INTEREST: The Success Hasn’t Spoiled Me Yet album peaked at #2 on the album chart. Mr. Mister vocalist Richard Page is featured on backing vocals throughout the album.

The song “Black is Black” was originally recorded in 1966 by the group Los Bravos. Meanwhile, according to Wikipedia, the song “Kristina” is a remake of the Bachman-Turner Overdrive song “Jamaica” with completely different lyrics. The original track was written by Jim Vallance who gets a co-writing credit here as well. Vallance is best known for his long collaboration with singer Bryan Adams.

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.

JOHN GORKA – OUT OF THE VALLEY (1994)

It isn’t very often that I go to a concert these days where I don’t know anything about the bands on the bill. Thanks to the Internet, even if I haven’t heard of a band beforehand, I can just hop on the information superhighway and listen to the band in order to familiarize myself before the actual show.

But back in 1994, it was a lot different. So when I went to see Mary Chapin Carpenter in concert at the Wang Center in Boston (Yes, I happen to like some country music!), I had zero idea who the hell the opening act, folk singer John Gorka, was at the time.
But boy that changed pretty quickly. In his opening set, he was quick witted with his humorous storytelling and I kid you not, his songs really struck a chord with me. At the time, he was touring in support of his fifth studio album, Out of the Valley, and while he played songs from other albums he’d done (the song “I’m From New Jersey” was particularly great AND funny), I ran out to buy the Out of the Valley album as soon as I could after the show. And to this day, I still own that same cassette.

I know that the majority of the articles in my series The Cassette Chronicles revolve around hard rock and heavy metal, but I do like to mix it up a bit sometimes and write about other styles of music I like.
I like stories and when singer-songwriters craft songs that tell great stories, that makes me sit up and take notice. When I first heard the Out of the Valley album, I was hooked and that set me off on a three decades-long fandom for John Gorka’s work. I went back and got the albums that came beforehand and ever since 1994 I’ve bought each of his albums since. And I’ve always been vastly entertained and impressed with Gorka’s work on those albums.

But let’s now shift the focus to the Out of the Valley album itself, shall we?

The first side of the cassette opens with the song “Good Noise” and for some strange reason, I never realized there was actually a video made for the song at the time of the album’s release. That oversight was corrected through researching for this article. While I saw John Gorka performing as a solo performer, the video for the song has him fronting a full band.

One of the things I liked right away was Gorka’s deep voice and his facility with language in his lyrics. It reminds me of the same kind of ability that Warren Zevon demonstrated so adeptly in his work.

The song has an uptempo beat to it that his further enhanced by the use of both backing and “testifying” vocals (I’m not exactly sure what that term means) from singer Jonnell Mosser. I was reading about the whole album online and it was noted that this song (and the majority of the album’s material) is a lot more optimistic sounding than Gorka’s previous albums. I don’t know how that went over with his already established fanbase but I’ve never had any divided feelings about any of the style choices in his music myself.

I mentioned singer Jonnell Mosser, but the album is packed with a ton of guest performers who are both big names (Mary Chapin Carpenter, Kathy Mattea) or prolific musical contributors like keyboardist Matt Rollings (whose worked with a varied list of artists like Dolly Parton, Blues Traveler and Queensryche, to name just a few). You should check out the liner notes for the full list of all the contributors, it is pretty impressive.

The album was produced by John Jennings who was a longtime collaborator with Mary Chapin Carpenter. He also played on a number of the tracks on this album.

I should note that John Gorka wrote all of the songs on this album, sharing just a single co-write on the song “Mystery To Me”.

The second song on Side One is called “That’s Why”. It’s never explicitly stated in the song but the lyrics clearly show that it is a song about Elvis Presley. The song is deliberately slower where the focus is mainly on Gorka’s voice and the guitar playing which features Leo Kottke on lead guitar and Gorka on the acoustic. It also has a great backing vocal from country music legend Kathy Mattea.

I remember the first time I heard the song “Carnival Knowledge (Second Hand Face)” and being just blown away by the story as it unfolded in the song. It’s got a sad overtone but with a bit of hope thrown in about a circus clown and it has always left me wanting to know what happens “next” after the song ends.

For “Talk About Love”, you get a return to the more uptempo driving beat to Gorka’s music. The drums come from Fairport Convention drummer Dave Mattacks. It’s a great little love song that isn’t syrupy or overly sweet. I loved the guitar solo in the song and the verse that goes like this:

“You know that bees they go for honey
And the grapes they go for wine
I did too until I tasted you
And then I nearly lost my mind”

And that’s just one of the great pieces of lyrical content in the song. It’s a love song I can actually stand behind as one that was great when I heard it that first time and still holds up 30 plus years later.

The song “Bigtime Lonesome” features just a guitar and bass musical score behind John Gorka’s vocals. It’s the longest track on the album at five-and-a-half minutes. And in direct contrast to the subject of “Talk About Love”, this song deals with the aftermath of a love that’s ended. It’s quite the tonal shift between the two songs but for some reason, I dig this track (for different reasons) as much as “Talk About Love”.

The track “Furniture” is billed (on the album’s Wikipedia page) as being a song about “critical self-examination without self-pity”. I don’t know that I ever got that deep into the meaning behind the song myself. There’s a moody vibe to the musical score which I found incredibly intriguing. The first lines of the song are incredible, “What good am I / If I leave you lonely / What good am I / If I’m lonely too” and further serve to draw me into the track. Kathy Mattea makes a second backing vocal appearance with this song and her work provides further depth to the vocals. As I listened to the song for this article, I realized that I never really got what Gorka was singing about until just now. I loved the song but now that I have an idea of what was behind the song’s creation, it gives me a renewed appreciation for the song.

The first side of the album closes out with the song “Mystery To Me” and it is a nice showcase for yet more of Gorka’s brilliant lyricism and some fantastic humor woven into those words. One thing I noticed about the liner notes is that the tambourine that is used in the song is credited to “Mystery Man”. As a confirmed lover of mysteries, now I want to know who that actually is.

As for the actual song itself, there’s just a killer set of lyrics as Gorka wonders just what attracts people to each other, particularly when they are such opposites. The humor in the lyrics is both overt and subtle at times throughout the song. I particularly enjoyed the flow of this lyrical stanza but the whole song is pretty damn funny.

“Maybe she’s a saint who took some pity on your soul
She had too much compassion then just went out of control
Now you’re walking hand in hand, I would have said no way
I do believe in miracles, ’cause I’ve seen one today”

When you flip the cassette over for Side Two of the album, you get the album’s title track which comes from Gorka’s life when he lived in Pennsylvania’s Lehigh Valley. It is a more methodically paced song as he ruminates about life in the valley combined with the desire to leave and how it both happens and doesn’t happen for people.

“I went off in the cruel world / like a gun in a crowded room” is the first line in the song “Thoughtless Behavior”. It is a pretty stark opening line and it captures your attention for sure. The song is interesting for its use of just guitar and bass for the music. The pacing isn’t quite as slow as the “Out of the Valley” song but it doesn’t burst out of your speakers either. Again, when you combine Gorka’s vocals with the words he’s written, you get magic. I also liked the way the backing vocals from John Jennings were used in the song.

The song “Always Going Home” really struck a chord with me when I first heard it. While it is kind of serious in nature, the song gets lightened up from being overly dramatic with the way Gorka constructs the lyrics. I don’t know if it was appropriate or not, but there were a couple of times in the song where I kind of chuckled at the lyrical wordplay. Part of what drew me to this song was not just the sheer quality of the track, but the fact that I knew a couple of people I knew at the time the album came out who could conceivably fit the narrative description of the song lyrics. This is not just a favorite track from the album, but one of my favorite John Gorka tracks, period. I loved the instrumentation on the song and how the uptempo pacing gives you a bit of breathlessness as the lyrics come firing out.

If you want a great example of lyrical imagination being responsible for crafting a great story song, check out the song “Flying Red Horse”. In the song, Gorka imagines the winged red horse logo from the Mobil gas station jumping off the sign and flying to the sky. What makes the song especially appealing is how he takes what would be a kind of silly concept and delivers it with such sincerity that you find yourself believing it might actually be possible. At the same time, there are some lyrics that reflect Gorka’s subtle sense of humor as well. The song also features one of two guest vocal appearances from Mary Chapin Carpenter, who I remain a big fan of to this day.

The Out of the Valley album closes out with the song “Up Until Then”. It’s a rocking tour-de-force from John Gorka. Hell, even the extended song outro is amazing all by itself. A tale of a woman constantly done wrong and what happens when she finally has had enough of being treated badly. This is another absolutely stunning track and another of my all-time favorites from John Gorka. Seriously, you should check this one out yourself because it is just purely awesome.

I went into a concert in 1994 with no idea who John Gorka was. And I came out with a new fandom that has stretched over the course of more than three decades. And it was cemented by the sheer musical mastery of his Out of the Valley album, which remains a favorite of album of mine, regardless of musical genre.

You might be wondering why I chose to write about the album here and now and there’s a small story behind that. As I mentioned, I first “discovered” John Gorka in 1994. And yet other than that one time I saw him live, I’ve never been able to see him in concert again. This despite having numerous chances to do so. It’s been a case of not being able to go due to work schedules sometimes combined with the laziness of not wanting to drive a long distance to where some shows have been.

But that’s changing this summer. Because John Gorka is going to be playing a show in Harwich, MA at a concert series called Cranfest in the Courtyard. And guess who got a ticket? Yep, it is me! And while I don’t usually get super excited about the prospect of going to a concert, I have to say that I’m quite looking forward to seeing John Gorka again. Time has passed, he’s gone from dark hair to plenty of silvery gray hair, and of course, I’ve gotten fat. But the power of his music and my love of it will finally be in the same place once again come late August. I definitely can’t wait!

NOTES OF INTEREST: According to the album’s Wikipedia page, the Out of the Valley album is the only one that ever appeared on any Billboard chart, reaching #26 on their “Heatseekers” chart. The album was the first of Gorka’s to be recorded outside of the Northeast U.S., being done in Nashville, TN.

The song “Good Noise” was covered by Scottish folk group The John Wright Band in 2001 for their album Language of the Heart.

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.

ILLUSORY – POLYSYLLABIC (2016)

The day this article is originally published (May 21st, 2026) is a pretty important anniversary in the timeline of my life as a music fan. It was five years ago to the day that the metal band Illusory officially released their third album. Entitled Crimson Wreath, I actually received a download link to listen to the album a few weeks ahead of the official release date.

I admit it, I was in my “grumpy old man, get off my lawn” phase of musical fandom. What could a metal band from Greece that I’d never heard of before offer me that would let them stand amongst all my favorite bands. The doubt was real but the hype line in the press sheet saying that the band was for fans of three of my favorite bands (including Savatage and Fates Warning) at least had me intrigued.

Little did I know what was to come the first time I clicked play on that download link. Crimson Wreath is a 75-minute musical masterpiece that has become such a part of my life that it is one of my all-time favorite releases EVER! Yes, it stands alongside albums such as Queensryche’s Operation: mindcrime and Savatage’s Streets: A Rock Opera. 

I’ve managed to lose count of how many times I’ve listened to the album. I’ve hyped it up to a number of people over the past five years. I’ve practically worn out the first CD copy of the album I ordered soon after listening to the download link. I’ve got T-shirts, copies of the album on vinyl and cassette and it was indeed my #1 album of 2021. Hell, I even did an interview with the band!

What’s been even cooler for me is I’ve managed to keep in contact with Illusory singer Dee Theodoru over the years. It’s allowed me to keep abreast of the band as they work on a new album (reportedly due out sometime this year, I think). I’ve also been Facebook friends with guitarists Greg Bakos and George Papantonis for a while now. I like to joke that I’m the unofficial president of Illusory’s North American fan club. Hell, Greece is on my travel bucket list now. Not because I want to see all the ruins and such the tourism industry brings you to. Instead, I want to go simply so I can see the band live and get to visit their recording studio, the iCave! 

When Illusory reissued their first album The Ivory Tower, guess who got to review it for the other website I write for? And I was blown away by that one too. And the band was kind enough to send me a rare copy of a CD that was released when they were still known as “Ivory Tower”. That one was so rare that I couldn’t even find a photo of the album art online when I first received the disc.

But in spite of that, there’s been something missing. The band’s second album Polysyllabic. I’ve owned the album on cassette and CD for a good long while now but I’ve been looking for the perfect time to actually write about it. Because it is an older album, I can’t review it for the KNAC.COM website that I also write for but as I mentioned, I own it on cassette. Yes it is just a bit outside my usual target range for cassettes to write about in this series but I’ve been known to range far afield from that usual timeframe on occasion. And what better way to mark the fifth anniversary of Illusory’s Crimson Wreath shaking me out of musical doldrums than to take you on the journey of discovery that is the Polysyllabic album.

I remember Dee Theodoru mentioning the styles of the first two albums varying one from the other, but for the life of me, I can’t remember what exactly I was told. Blame my poor memory for that one.

So as I listened to the album for this article, it kind of became almost like a new discovery for me…all over again. What would this album bring to the table? Could Illusory make a perfect three-for-three? Three masterpiece albums in a row would be amazing, no? Or would I be building up my anticipation level to heights impossible for anyone to match or even surpass.

Instead of worrying about that, why don’t we get into the music instead?

I should mention that the Polysyllabic album was originally released on November 11th, 2016 via 7hard Records. This means that the album is a few months away from its official tenth anniversary. I also noticed is that at the time the album was recorded Illusory’s lineup was just a bit different. Instead of current (and awesome) keyboardist Makis Vandoros, the keyboardist who recorded Polysyllabic was George Konstantakelos. I’m pretty sure I remember learning that back when I first did a deep dive on the band after listening to Crimson Wreath, but I was reminded of that when I was looking up information for this article on the band’s website.

The first thing to notice is the rather eye-catching album artwork. Once I started looking into Illusory after hearing the Crimson Wreath album, I was definitely struck by this cover art even separate from listening to the music.

The first side of the album features eight of the thirteen tracks (stay tuned later in the article for more about that point). The album opens with an instrumental entitled “In the Beginning…”. I know most instrumentals that start off an album are just kind of setting the table for what is to come but for an introductory piece that was less than ninety seconds, this is a humdinger of a track. The band mixes a classical orchestral sound with some perfectly timed metal music and right at the beginning I noticed a brief piece of music that sounded like it would’ve been right at home on a 1980s science fiction movie score. However you want to phrase it, this was a damn cool way to kick things off as it leads into the first “regular” song.

And that song, “A New Beginning” was ripping! The music is soaring and powerful, but what really hooked me was the vocals. I loved how Dee Theodoru’s voice starts out with a deeper somewhat more gravelly aspect to it. That’s how it struck me in the main lyrical passages and then when you hit the chorus, the more high in the sky (and vocal register) vocal style comes more to the forefront. The combination of Dee’s vocals and the band’s musical score had me rocking out as I listened!

I should mention that while listening to the album for this article, I found myself on the band’s website where all the lyrics for each song on the album are helpfully posted so that I could read along with each track so as to not miss anything and for me to discover particular lyric lines that really captured my ear and imagination.

The song “Bleak” has a soundtrack that is anything but. However, the lyrical content is where the song’s title comes more into play. Pretty dark lyrics. And yet at the same time, this was a freaking cool performance. “Ordering death for my pleasure won’t save me”…that is a heavy impactful line both on its own and in the course of the full song itself. Very dark, very heavy and very cool! I love the way the song just cuts right out after the last lyric line. The song hits you hard and fast and when it is done, it’s done. 

“Dreamshade” is something extraordinary. It starts with a mournful sounding cello at the intro which is then joined by an acoustic guitar and a bevy of choirs as it builds your anticipation. The start of the lyrics finds the music still moving along as those vocals in the first lyric verse are done with a methodically paced delivery. 

Then suddenly, everything that came before cuts out and Illusory in full bursts out of your speakers. George Papantonis, Greg Bakos, Niki Danos, Costas Koulis and the aforementioned George Kostantakelos are on fire with their individual performances and blend effortlessly together to make the song a fully realized masterwork.

And then when you just about get to the six-minute mark of the song, the song gets even cooler when the use of a choir for the section leading into the guitar solo makes me think that it is the first time the use of a choir doesn’t slow a song down. Usually in the use of a choir, the music falls back and the choir comes in with a dramatic performance where speed is sacrificed. It doesn’t hurt the song but on “Dreamshade”, Illusory might just have the first heavy metal choir because when they come in, the song doesn’t really slow down. Instead, it delivers a rather powerful performance but at a speed that both accompanies and enhances what you’ve already heard without sacrificing speed. The choir is rocking out and it is fantastic!

I mean check out the lyrics they get to sing: 

“A gentle sound, an awful light

Three angels bear the holy Grail

With folded feet, in stoles of white

On sleeping wings they sail

And, stricken by an angel’s hand

This mortal armor that I wear

This weight and size, this heart and eyes

Are touched, are turned to finest air

So pass I hostel, hall and grange

By bridge and ford, by park and pale

All armed I ride, whate’er betide

Until I find the holy Grail”

Then you get a phenomenal guitar solo before the final lyrical passage. It rocks right until the last bit where all the music disappears and you get just a brief little acoustic guitar accompanying Dee singing the final word of the song, “home.”

The song is EPIC, there’s just no other way to describe it!

There’s no let up in Illusory as the next track “Odd-Y-Sea” keeps the rocket-fueled and high adrenaline pacing going. You get this intro to the song in the liner notes: ““Straightway she cast into the wine of which they were drinking a drug to quiet all pain and strife, and bring forgetfulness of every ill.” (Odyssey, Book 4, v. 219–221)”

And that’s just the table setter for the actual lyrical content of the song. I love when literature is used to create a song from and this one is no different. The care and attention to crafting a song, using the source inspiration but not letting one overwhelm the other lets Illusory come up with a note perfect celebration. I also love how the vocals split themselves between a really heavy growl type delivery and the more soaring style you will be familiar with if you have listened to Illusory before now(and if not, why not?).

As rocking as the songs have been up until now, you get even more of a revved up metal attack on the song “Insangel”. Between the relentlessly paced delivery of the vocals and the crushingly powerful music, this is a song with no real let up in its makeup. And I’m really noticing more and more how much darker the lyrics seem for the Polysyllabic album. That’s not a bad thing but I think because I’m reading along as I listen, I’m noticing the darker imagery a bit more than with the band’s other two albums. Maybe that’s just me, but I found it rather cool that the band can do that and still turn out songs that make my ears prick up in audio excitement.

There’s a spoken word intro to the song “Polysyllabic Thoughts” and it is a great way to start off the song. Stiver Graunne, who does the voiceover performance, does a great job and after he fades out, the song kicks off in earnest and you get a hard rocking driving rhythm for the first half of the song. There’s a cool solo and loved the way the drums from Costas Koulis came through on this song. I noticed that I was really picking out his playing a lot in this song. The mid-section of the song slows the pace down for a more dramatic vocal turn from Theodoru but the music ramps back up again for the latter half of the track. And did I mention how much I thought the song’s chorus was radically dark and strangely addictive at the same time? I mean, “Innocence is my sinful excuse / Paid all dues in clock ticking abuse /Est a levis regnum /Cold asylum of gloom” just struck me in a way that I couldn’t help but get a bit of a electrical charge running through me each time I heard it. Yes, perhaps there’s something wrong with me, I know, but I just thought it was a great stanza. It is at this point that I should mention each song of the album on the band’s website has its own individual artwork and I thought the one that was for this song was particularly noteworthy.

The final song on Side One of the album is called “Last Fallen Angel”. The playing from Costas Koulis caught my ear in the song’s intro. The first verse finds the tempo slowing down but afterwards the song’s pacing ramps back up and the band as a whole is hitting all the right notes as it moves fast and yet with a poundingly rhythmic feel as well.

Before we head on to the second side of the album, there’s a few things I thought I’d share about my time being an Illusory fan. 

As I mentioned above, I’m a grumpy old man for the most part. But when I find something I love, I am usually about to become a big cheerleader for said “thing”. I constantly talk about my favorite mystery authors and when it comes to Illusory, I try to promote them however I can.

I’ve worn their shirts to shows to fly the flag for them and I’ve talked up the Crimson Wreath album to customers at my friend’s record shop. Heck at least a couple of them who have their own Youtube music reaction channels have done videos about the album.

I’ve been lucky enough to see the band live twice via livestream (including one show where they sent me the set list in advance and I have that printed out and saved in Jay’s Archive of Cool Music Stuff. As mentioned, I am Facebook friends with three of the guys in the band. I’ve watched as many of the videos there are online from not just the band, but some of the solo videos Dee has done and guest appearances at shows when I come across them on the band’s various social media posts.

The possibly coolest thing would’ve been meeting the band but they’re in Greece and here I am in the “Armpit of the Cape” (aka Wareham, MA). But I almost was able to meet Dee. Back in late 2024, he was going to be in DC and New York for a few days as part of an extended honeymoon with his wife. We had bare bones mentioned the possibility of me making my way to New York for a meet-up. Sadly it wasn’t something I could make happen due to work commitments but of course it only furthered my resolve to someday make the trip to Greece for a show and tour of the iCave studio where all the magic is made!

And now…back to the music!

Once you flip the cassette over to Side Two, you get the song “The Eyes of Hades”. Stiver Graunne returns a second time for a spoken word intro that sounds like it is setting up a dystopian sci-fi tale. As the voiceover ends, the music kicks off in full and Illusory is rocking from the start. As the song unfolds, I found that the speedy nature of the music and the way the lyrics are rolled out made for intriguing listening. There’s a gang vocal presence during the chorus and they slow fade outs and ins at various points in the song had me enthralled with the song as a whole.

For “Solitary Nomad”, you get a brief musical flourish to open the song before the first two lyrical lines are played out in a slower fashion. But after those two lines the pacing picks up again and you are on the path to another full blown rocker. And yet, the song has many tempo changes that make it pretty cool to roll with the ebbs and flows of the track. I loved the way the slow and beautiful sound used for one passage of particularly dark lyrics served as a sort of point-counterpoint. Also, the guitar work is uniformly excellent on this track. The solos especially.

The artwork for the track “One Sad Moment of Existence” is another great piece and the song itself kicks off with a bassline from Niki Danos before the band bursts through your speakers as a unified whole. The track is explosive in spots but man what a performance from the band as a whole on this one. I love Dee’s vocal delivery a lot and the way the music ranges from full throttle metal to the momentary spots of a slowdown where the music is more dramatic is superb.

The funny thing for me was that the song title immediately made me think of a line from the TV show Babylon 5, but for the completely OPPOSITE reason. Where this title would seem to be from a depressive outlook, the line I was thinking of from the show was “One Moment of Perfect Beauty”. Strange how the mind makes connections to random thoughts that don’t really have anything in common.

“System’s Decay” gets off to an incredible start with a keyboard fueled intro. While I may not be a music expert in terms of songwriting, I thought that intro sounded fantastic. After that intro, the music is definitely more rocking, but there’s so much going on that it is a feast for your ears. There’s a guitar solo to die for in this song too.

The album comes to a close with the aptly named “Swan Song”. It’s a ten minute track that starts off in measured delivery, slowly unfurling itself. When the vocals cut in they also found a groove in slow methodical manner. After the first couple of stanzas, the music got a sudden burst of energetic and rocking music. The tempo rising but not quite exploding just yet. There’s musical thread running through the track and you can feel the song building piece by piece. There’s a growing burst of kinetic energy as the song progresses and when it does take time to go all in on the more speedy nature of Illusory’s music, they still put a nice little spin on that.

While its always a good idea to check out the lyrics for any song on this album, I thought reading along to the “Swan Song” lyrics paid great dividends so I knew what was going on and didn’t miss out on anything.

Wait, did I say that was the last song. Well, shhh…I lied. There’s a hidden track on the album called “The Story”. And man, does it set the stage for itself. A piano (keyboard?) is pretty much the only music you hear at the intro. Then you get a vocal showcase for Dee Theodoru. This is a powerful track that gets enhanced musically with some orchestration mixed into the soundtrack about two-and-a-half minutes into the track. I’m not sure if this is supposed to be an epilogue to the rest of the album or if it is just a standalone number. I’m sure it could work either way but damn, this is one incredible track.

So what’s my “final” verdict? Well, clearly if you’ve read the whole article, you can see just how much I love this album. It’s a bit heavier than The Ivory Tower and the lyrical content is definitely darker in a lot of ways. But you know what, that means you get to explore another facet of the band’s creativity. And I’m definitely all in for that.

With just three albums, Illusory has spent these last five years since I “discovered” them for myself becoming one of my all-time favorite artists. It’s been a fantastic and eye-opening wild ride bopping back and forth in the band’s history since I first heard Crimson Wreath five years ago. And with me finally taking the time to do a real and full accounting of this outstanding Polysyllabic album, my fandom for everything the band does has become, as the line in “The Story” says, ” …the story that was never meant to end”. Nor shall it while I have breath in my body!

If you haven’t listened to Illusory before now, you have missed out on what I feel is one of the best damn metal bands I’ve ever heard. These guys, quite simply, ROCK!

NOTES OF INTEREST: Three days before this article posts, I sent a birthday message to Illusory singer Dee Theodoru with the teaser that I would be doing this article in conjunction with the anniversary of the Crimson Wreath album release. Here’s hoping he and the band like the piece as much as I like the Polysyllabic album.

While there has been much joy in the time that I’ve been this massive fan of Illusory, there has been some sadness too. The band lost bassist Niki Danos. First he stepped down from the band, which would be sad enough seeing how much a part of the Ivories family that he was. His passing later in 2024 was even sadder and he will always remain a much-missed key aspect of the band. 

As Illusory continues to work on their next album, they did release one song that will appear on it as a tribute to Niki Danos. Entitled “Thread and Thrum”, you can find it on Youtube and it is a pretty damn good song if I do say so myself.

Speaking of the new album, no rush guys because we all want it to be as perfect as you decide to make it. But I think I speak for the entire Illusory fan base when I say, we can’t wait to hear it!

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.

I, NAPOLEON – I, NAPOLEON (1991)

These days it isn’t all that easy to find a band or an album that not only have I never heard in full, but a band that I don’t really recall ever hearing about much less having heard their music.

Such is the case with the band I, Napoleon. Fronted by singer Steve Napoleon (who also provided keyboards and some percussion as well as co-producing the album) and featuring Joe Fazio on bass, Dave Imondi on drums and Doug Stratton on guitar, the band released their self-titled album in 1991 and it apparently sank like a stone. 80s metal was on its way out, grunge was on its way in, and this one so completely bypassed my radar that I am not sure I ever heard of it before. I ended up not feeling too bad about me missing out back in 1991 when I discovered that there is apparently only a single video of the band playing live and that was on the Into the Night program hosted by Rick Dees.

But a few weeks back, I was watching a video on the Flipside Vinyl Community with JC Youtube channel and he mentioned this album. Oddly enough, I then found a copy of the album on cassette at my local record shop, Purchase Street Records, a few days after I watched the video. So I knew I had to give it a shot.

The first thing I noticed is that the cover art is pretty striking. At least for me, it really grabs the attention. The next thing of note was discovering that the album has eleven tracks on the cassette, yet  the CD edition (which is apparently available through the French record label Bad Reputation Records) has a twelfth track entitled “My Backyard”. In the interest of providing as full a look back on the album as I could, I went online to listen to that song, which I’ll talk about later in the article.

I’ve seen the band’s sound compared to Extreme, Saigon Kick, Kik Tracee and Shark Island. But for me to really form an opinion, I have to lock in and check out the album for myself.

The first side of the album (Side Day) opens with the song “Perfect Absolution”. The track begins with a brief acoustic guitar run through and then Steve Napoleon’s slightly rough and gritty vocals cut in. Once the first verse finishes, the song blows up into much more of a full rocker, though the tempo still feels a little restrained.

The song “Go to Pieces” finds the vocals feeling a bit plaintive with what seemed to me as having some extra bit of emotion dripping from the performance despite the song being more of a rocker than any kind of ballad track.

“Don’t Wanna Sleep Alone” rocks pretty hard, but I think what made me like this song a bit more was the way the drums got way more of a featured spotlight with the song. There’s a continual solid thump to the song’s rhythm and I really liked it.

The way “Come Back Soon” opens, I have to say I didn’t really care for it. I felt it was just a bit out of place in a rocker type track. When that same vocal affectation returns as the song closes out, it just made me cringe. If you eliminated that from the song, I would’ve like this one so much more.

The song “Everytime I See Your Picture” was originally a Top-40 hit in Canada by the singer Luba that was released in 1983. A power ballad, the song is actually pretty good, holding up better than I would’ve thought it might. I didn’t listen to the original song for comparison’s sake but I do like the way this version came out.

The second side of the album is listed as “Side Night” and it opens with the song “Love / Hate”. There’s a strong drumbeat running throughout this song straight from the opening where it pretty much powers the intro, but you can hear it threaded into the music of the entire song as well.

Much like the song “Perfect Absolution”, even when “Love / Hate” is rocking an uptempo driving tempo, there are still moments in the track where it still feels like they aren’t quite putting the pacing peddle to the meddle. At that point in my listening session, I was beginning to wonder if this just what I was hearing or if it was done with specific intent from those making the music.

Some comments I read online mentioned “Whipped Silly” as one of the stronger tracks on the album, but when I listened to it, I found it to be merely “okay”. I thought it lacked something and just didn’t feel like it was anywhere near being one of the better tracks on the album.

Another thing my research let me discover is that people felt the band’s vibrant sound also had a darker tone to it. And if you look at the titles on the second side of the album, you’d be hard pressed to argue. “Feels Like Suicide”, “I am the Idiot” and “Sweet Cyanide” are song titles that don’t exactly scream “Party Time!” to the general audience. Not that I mind a darker lyrical tone to various songs, but damn…

“Feels Like Suicide” opens with that smooth and quick acoustic guitar intro that I thought was going to fade into some kind of explosive rocker, but for the most part this track kept the pacing and instrumentation uniform throughout. Instead, the song serves more as a showcase for the song’s lyrics and the almost venomous delivery that Steve Napoleon employs for his performance.

“I Am the Idiot” is a full bore rocker. The pacing is fast and furious and the various instruments performing on the track all get their moment to shine in the song’s progression. I really dug everything about how this song was done.

Meanwhile, I liked the way the guitars built to a crescendo in “Sweet Cyanide”. It gave that rising sense of anticipation leading into a rather cool guitar solo for the track. The vocals had a grand intensity throughout but there were moments where Steve Napoleon seemed to bring a bigger sense of the grandiose to certain lines in the lyrics.

“Concerto in D Minor” is technically the end of the album on the cassette. When the instrumental ends, so does the cassette. But as I mentioned above, there is another song on the CD version of the album. I don’t know if it was always there on the CD or if it was added as a bonus track in any reissue from a reissue label. But I went to YouTube and check out the song. That song, “My Backyard” has a keyboard “riff” that plays through the song as its most identifiable component. It’s a solid enough song until the end where another vocal affectation kind of annoyed the hell out of me.

Usually when I listen to an album that I’ve never heard of before I come away wondering what happened to make me miss out on the release. But if I’m being honest, I don’t get the notion of calling the I, Napoleon album some kind of underrated gem of an album. Sure it’s a GOOD album but I wasn’t blown so much away that I would call it a great album. There’s some fantastic guitar moments and you can’t say that Steve Napoleon doesn’t leave a mark with his vocals. But a lost classic or underrated gem? I just don’t agree. Still, with the album marking its 35th anniversary this year, I am glad that I’ve finally been able to give the album a good listen.

NOTES OF INTEREST: Steve Napoleon (aka Steve Batky) was the drummer for the much heavier band Witchkiller.

While Doug Stratton is credited as the guitarist for the band, John Dillabough is credited with playing guitar on the album as well. Some sources I saw said that he was majorly involved in the creation of the album playing a lot of the instruments not just guitar but I haven’t seen any firm confirmation either way.

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.

SCORPIONS – LOVE AT FIRST STING (1984)

It must be a hell of a thing. To write a song with the simple idea to have a song on an album. With no idea that it will go on to become one of the most recognizable anthems in the history of rock and metal music.

But that’s pretty much what happened for the Scorpions, now isn’t it. I doubt the band had any idea what they had on their hands when they completed the writing and recording of “Rock You Like a Hurricane”. And yet, from 1984 until this very day, the song remains as resolutely powerful and anthemic as the first time you heard it.

The funny thing is that I never realized that it was the band’s drummer at the time, Herman Rarebell who co-wrote the lyrics for the song with singer Klaus Meine. I only learned that as I wrote this piece, somehow never looking at the songwriting credits for the album until now.

What struck me even funnier is that despite the song’s standing as one of the great rock anthems, when it was released as the lead single for the album, it only rose to #25 on the singles chart. And yet, more than four decades later it remains such a recognizable track that you wonder how it didn’t go even higher back in the day.

So what can I say about the song that hasn’t been said ad nauseum all these years? Well…not much. If you ever heard the song (and if you are reading this article, I think the chances of that are high), you know how the song captures everything you could ask for in a rock anthem. Killer guitars, fists-in-the-air chorus and an overall vibe that gets your heart racing from start to finish.

Of course, “Rock You Like a Hurricane” wasn’t the only single released from Love at First Sting. In fact, there were three other songs that got the single treatment. But none of them had the same impact on the charts. Heck, the fourth single “I’m Leaving You” is one that I never even knew had been a single.

As for the other two singles, the power ballad “Still Loving You” was the second single while “Big City Nights” was the third single. Both songs, despite a lack of chart success, are still two of the biggest hits for the Scorpions. 

“Still Loving You” has a cool vibe at the beginning with the almost haunting melody and then the breathy vocal from Klaus Meine at the start. Once the full band kicks in, the vocals become more powerfully focused and the “power” side of the “power ballad” description kicks in. It’s a ballad that actually holds up over the years because while the lyrics deal with the topic of love, they don’t quite go for the sugary sappy direction of a Hallmark movie. 

Meanwhile, “Big City Nights” has the rocking and fiery guitar riffs you’d expect from a full on rocker type track. I love the way you get both the lead and rhythm tracks and can clearly hear both of them as you listen to the song. The song’s chorus gets you pumped up even if the song isn’t quite a full on anthem number.

I mentioned the song “I’m Leaving You” at the start of this part of the article and not only did I not know that it had been released as a single in the first place, but I didn’t know they’d shot a video for it as well. An utterly preposterous but completely in tune with the 1980s era of music videos. The song itself has a great rocking vibe to it but I think it gets completely overlooked with all the other songs on Love at First Sting.

That’s the songs from the album that got single releases, but what about the rest of the album tracks? Well, on Side One there are three songs left to talk about and it all starts with the opening track “Bad Boys Running Wild”. While it does a magnificent job as the kickstarter for the whole album, I think the boat was missed not having this be a single. You’ve got a killer riff in the intro, a powerful rhythmic foundation that has a feast of guitar work built on top of it. The chorus has a great gang vocal and the overall hook to the song just works for me. For me at least, it’s one of my favorite tracks not just on this album but from across their catalog.

On “Coming Home”, the ballad intro slowly fades in at the start and then you get the somewhat slight or rather understated vocals. The entirety of the first verse is just a master class in setting a mood. And then as the verse comes to an end, so does the balladry. It gets absolutely annihilated by a full force burst of metallic energy. High stepping and fast moving, the guitar work is frantic and suddenly Meine’s vocals go from the soft tones of the song’s start to this far more speedy and gritty delivery. Throughout the track, the music moves so fast that it just might be one of the fastest musical soundtracks for any Scorpions song over the years.

That same kind of frantic pacing continues on the Side One closer “The Same Thrill”. The guitar work remains impressively fast. The drumming from Herman Rarebell is poundingly intense and you are rocked back on  your heels from the get-go. And yet, I have to say that this is one of the songs that I completely overlook whenever I listen to the album. Which is a shame because it has pretty much everything I could want in a Scorpions rocker type track. I’m only just realizing this as I listen to the album for the article but I’m really going to have to re-evaluate my appreciation for this track I think.

As for the rest of the songs on Side Two of Love at First Sting, the song “As Soon as the Good Times Roll”, is an interesting track. It’s got an uptempo pacing to it, but I liked the way you get a bit of that breathiness from Klaus Meine’s vocal delivery. It fades in an out to a more aggressive delivery depending on what point you are at in the song but that mix does make for an interesting performance on his part. This is another song from the album that gets overlooked but I found myself enjoying it anew on this listen. Also, I dug the way the chorus gets delivered. There’s some kind of a hook in the way that vocal phrasing comes out that I really enjoyed.

The song “Crossfire” is yet another “album” track that probably doesn’t get as much recognition as perhaps it should. While the vocals and music are decent what really makes this song stand out is the crisp drumming from Herman Rarebell. The drumming goes nearly the entire song sounding like a military march or something akin to that. Rarebell really gets the lion’s share of the spotlight on this track and I was again surprised to find myself enjoying the song more than I had in the past.

It’s not some out of the box thought process to proclaim Love at First Sting one of, if not, the most successful album in the Scorpions discography. It is certainly that. But I love how strongly the album has held up over the decades. It was a great album back in 1984 and the passage of time has not dampened my love and enthusiasm for the album in the slightest.

NOTES OF INTEREST: The Love at First Sting album has been certified triple platinum. It peaked at #6 on the album chart. The album got reissued in 2015 as part of the 50th anniversary celebration of the band’s founding. That reissue included five demos as bonus tracks as well as a second disc containing a live concert from New York City in 1984.

The classic album artwork is not the only version for the album. According to the album’s Wikipedia page, the US retailer Walmart complained about the original cover AFTER it had been released. This complaint prompted the record company to release what is termed a “clean” alternate cover for what I am terming “cowardly” department stores.

Francis Buchholz, who was the bassist for the Scorpions between 1973 – 1992, passed away in January 2026 after a cancer battle.

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.

BAD COMPANY – FAME AND FORTUNE  (1986)

“A high-tech clunker”.

That’s what one original review said about the Bad Company album Fame and Fortune. But was it?

I didn’t listen to the album when it was first put out back in 1986. I didn’t even know about it until I heard the follow-up album Dangerous Age.

The Fame and Fortune album is the seventh studio album from the band, but it was the first one after the band’s original run of releases. It featured Brian Howe stepping into the vocalist spot with Paul Rodgers having vacated the position.

Having enjoyed the Dangerous Age album, I was looking forward to hearing this one when I found a copy way back in the day. Which is why I was struck by the descriptor at the top of this article about the quality of the album.

The first side of the album opens with the song “Burning Up”. And while those expecting the bluesier vocal tones that came from Rodgers were sure to be surprised, I know that I was enjoying Brian Howe’s vocal style as well.

The song is a pretty lively rocker for the most part. Fully uptempo, there’s a nice melodic sensibility to the music and I am still wondering why this one wasn’t released as a single back in 1986. It’s a killer track and I think it would’ve done extremely well. And I love the guitar solo in the song.

Instead, the first of three singles from the album was the album’s second track “This Love”. Don’t get me wrong, I think the song is really good but it definitely feels a bit lighter in comparison to “Burning Up”. The chorus of the song is more rocking in tempo but their is definitely more of a nod or perhaps musical bent in the main lyrical passages before the chorus. As the song goes on, it does continue on a harder rocking level but that saxophone sound that threads itself in the music leaves no doubt that this one was pop chart aimed. Not a bad thing in my book overall, but I definitely liked “Burning Up” more as a potential single. Not that my perspective four decades on really matters but still.

The album’s title track is the sole creation of guitarist Mick Ralphs and it definitely has a harder edge to it throughout. The weird thing is that you can also hear the 1980s production style at the same time. But this is a damn fine song. It was the third and final song released as a single but that was only in the UK. I know Bad Company as a band doesn’t really like to acknowledge the Brian Howe era if they can avoid it, but this is a track that I would’ve love to hear Paul Rodgers sing when he rejoined the band because it really has a solid thump to it musically but the phrasing used for the vocals would’ve been just as good for him as it was for Brian Howe.

Meanwhile, the song “That Girl” was the second single from the album (at least in the US) and it was another solid track. It’s more restrained vocally in the initial verses but the song gets revved up in the chorus.

The first side of the album ends with the song “Tell It Like It Is” and there’s not much in the way of restraint on this track. Fully uptempo with a kind of swinging rock and roll beat to the song, I think this is another song that should’ve been a single. Even the saxophone used in the song sounds like a blaring rocking soundtrack all by itself.

When you flip over to Side Two of the album, the album gets off to a slightly slower start with the song “Long Walk”. It’s a mid-tempo track in the first verse but you can easily hear the song ramp up a bit in between the first and second verses. After that the song splits itself between the more sedate tone and the more upbeat sound until it just goes full uptempo towards the end.

The song “Hold On My Heart” is one of my favorite tracks on the album. I’m not sure I know exactly why but I just found that I always liked this song. And while the song title might conjure up the notion that it is a ballad, it is definitely more of a rocking song than you might expect. But at the same time, there’s this hook that gets me every time I heard the song. 

By the way, with the appearance of the saxophone in this song as well, I found myself looking up who might’ve played the instrument for the album. There’s no credit in the liner notes and searching online yielded no true definitive answer either.

The song “Valerie” is another killer rocking track. It was co-written by Brian Howe and Mick Ralphs and while you can definitely hear the polished 80s production sound, this song just rocks start to finish. And Ralphs has a pretty cool solo on this track as well.

The one true ballad track on the album comes in the form of “When We Made Love”. If I’m being honest, it is probably the one track that I don’t get all that buzzed about when I hear it. Sure, my lack of love for a lot of ballads plays a part in this but overall, I just didn’t find myself able to get into the song all that much. I find that a bit sad given that it was the only writing credit that Simon Kirke had one the album.

Smartly enough, the Fame and Fortune album comes to a close with the rocker “If I’m Sleeping”. Musically, the song has a strong guitar vibe that is threaded throughout the entire track. But at times it is lower in the mix, especially when the chorus is being sung. At that point, the keyboard gets much more of the musical spotlight. Which is fine since both instruments balance out the music equally. Beyond that, the song just flows nicely and I thought it did a great job not only as a song standing on its own but as the song that put a bow on the album.

The Brian Howe era of Bad Company didn’t really take off until the Dangerous Age album but the Fame and Fortune album certainly gave music fans a damn solid foundation for where the band was taking their sound. Some may not like the album but the notion that Fame and Fortune is a clunker of an album is just flat out wrong.

NOTES OF INTEREST: While original bassist Boz Burrell is credited on the album as being part of the band, he didn’t actually play on the album. The bass parts were performed by session player Steve Price. Meanwhile, Paul Rodgers might not have been in the band anymore but he got a thank you in the liner notes.

Foreigner’s Mick Jones was listed as the executive producer of the album and two songs on the album.

The keyboardist on the album was Gregg Dechert. He co-wrote three of the songs on the album. He also recorded and toured with both Uriah Heep and Pink Floyd’s David Gilmour.

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.

JOHN WAITE – IGNITION (1982)

After the end of The Babys, singer John Waite unleashed his debut solo album Ignition in May of 1982. I suppose that nearly forty-four years after its release, it’s a good time for me to get around to finally listening to the album in full. 

I’ve written about John Waite’s solo albums three times before in this series but now I’m back to the very beginning to get a grasp on how things started for his solo career.

That notion got a great start with the first song on the album. “White Heat” is a killer rocking track. Fiery in its pacing and packed with not just a great vocal take from Waite, but a jam-packed musical score, I was quite taken with the song. The keyboards in the song were pretty cool and in spots they got a bit more of a spotlight and for me that only enhanced the overall song.

The funny thing is that I wasn’t sure if I’d really ever heard any of the songs on the album before now. And then Track 2 quickly reminded me that yes indeed I had heard at least one of the songs. That track is the song “Change”. It was the first of two singles released from the album and while it didn’t really make a dent in the charts at the time, it remains one of John Waite’s most recognizable songs. I was also reading online that in the early days of MTV, it was one of the channel’s most popular videos.

The song “Mr. Wonderful” has a nice rhythmic style going for it. It’s fed by a strong keyboard sound in the main choruses and then the pacing kicks up into more of a rock vibe for the song’s chorus. I like the way the song bounces back between those two styles. And the guitar playing on the song is phenomenal. According to the Wikipedia page for the album, session guitarist Tim Pierce played lead guitar on the album. On this song he was really outdoing himself. But the solo on the song is credited to Spyder Downtone Butane James. This is apparently a pseudonym for Neil Giraldo. There’s more on him in the “Notes of Interest” section of the article.

For the song “Going to the Top”, the pacing has a mid-tempo groove in the lyrical passages before once again becoming more of a rock and roll track for the chorus. I was kind of surprised by just how much I found myself liking this track. And then I read that it was the second single from the album. While it didn’t have much in the way of chart success either, you can clearly hear why it was chosen to be released as a single.

The final track of the first side of the album is “Desperate Love” and much like the opening track, this one is a full one rocker. The band is cutting loose and Waite is belting out the lyrics with abandon. And I’m pretty sure that I’ve heard this song somewhere before because the song’s chorus seems very familiar to me for some reason. But I can’t think of just where I heard it. Regardless, this is a killer track!

When you flip the cassette over to Side Two, things kick off with the song “Temptation”. It’s one of three tracks on Ignition that John Waite did NOT have a hand in writing. It’s got a solid thump to it musically.  I dug the subject matter of the lyrics and how John Waite delivered his vocals. The phrasing during the chorus was pretty damn cool.

With “Be My Baby Tonight”, I thought the title could have the song either going full ballad or have a real uptempo driving beat to it. Happily enough for me it was the latter. The guitar work really informs the rest of the song and you get yourself on heck of a rock and roll number with this song.

The opening of “Make It Happen” is kind of weird and that sound continues on even after the guitar track kicks in. It was kind of annoying especially when you can hear it buried in the mix at different points of the song. Still, when you ignore that part of the score, this is a foot-stomping rocker. It sounds vaguely familiar at times so I’m trying to figure out where I might’ve heard it before. This one is good enough that I think it could’ve been an interesting choice for a single release too.

The song “Still in Love with You” has a slower delivery. You might even call it the Ignition album’s ballad track. Given the song’s title and that aforementioned slower delivery, you aren’t making too big of an assumption in that direction. It’s a decent song and it does have a bit more of a livelier step than the more straightforward ballad pacing at least.

To close out the album in full, you get the song “Wild Life”. The song has a upbeat and uptempo feel to it, though not quite as much of a full on rocker like “White Heat” or “Desperate Love”. But that doesn’t detract from how good the song is on its own.

While I’ve owned the Ignition album on cassette, I’d be lying if I said I remembered playing it either at all or rarely. So perhaps if I did, that’s why some of the songs are familiar to me. But regardless of not being able to pin it down for sure, I found that I was really enjoying myself as I listened to the album in order to write this article. I think I’m going to have to give it more playing time in the future because this really was a solidly crafted album that gets overlooked for the most part when you think about John Waite’s musical catalog.

NOTES OF INTEREST: The Ignition album was produced by Neil Giraldo. Alongside wife Pat Benatar, Giraldo was on the same label, Chrysalis, as Waite.

The song “Change” got a second life in 1985 when it was featured on the soundtrack for the movie Vision Quest. The song was written by Holly Knight and originally recorded for the second album of her band Spider.

Patty Smyth and Frankie LaRocka appear on the album. Both were members of Scandal at the time.

I have now seen John Waite live twice. The most recent time was a couple summers ago. I saw him opening for Foreigner and Styx in Mansfield, MA. Despite the shorter set, he was fantastic and still sounded in great voice.

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.

W.A.S.P. – LIVE…IN THE RAW (1987)

Back in October of 2025 when I discovered that I hadn’t written about any W.A.S.P. album in all the time I’d been doing The Cassette Chronicles series, I wrote about the band’s self-titled debut album.

In that article, I mentioned how I’d first become aware of W.A.S.P. not through their studio recordings but rather from seeing an ad in music magazine for the release of their new live recording Live…In the Raw. 

If I remember correctly I was struck by the slightly macabre cover art. This is a bit funny to me since I’m not much of a horror fan and the cover looks like something that you would’ve found as the box art for a 1980s slasher flick.

But when I saw that artwork, I was intrigued. So I went out and bought it on cassette and man, I was blown away. I was mid-teens by this point and loved anything that thumbed its nose at “polite” society, thinking I was one of those people (totally turned out not to be the case) that did so as well. 

The live album serves as a marker point for the end of the first part of W.A.S.P.’s career. I also own the album on the CD and that version has an essay that declares the album as being the “end of an era”. And considering the change in musical direction and growing maturity in the writing that came with the next studio album (The Headless Children), they weren’t underselling that point.

The Live…In the Raw album has eleven tracks on it. The first ten are the live show and it all starts with a great intro from whomever had the job of introducing the band: “Long Beach Arena…They have returned…for the final night of their 1986-87 World Tour! The most outrageous band in the world…W.A.S.P!”

As many times as I’ve listened to the album over the years, I still get a jazzed up feeling hearing that intro and the band launching into the song “Inside The Electric Circus”. There’s a slow build and then accompanying thump as the lead into the song in full ramps up.

And while I’m certainly no audiophile, I think this recording sounds fantastic. It captures the band at their peak. Blackie Lawless sounds great here and the rest of the band is certainly keeping the fire at full burn musically.

Eight of the selected tracks for the show come from the band’s self-titled album and both The Last Command and Inside the Electric Circus releases as well.

It’s funny to think that I somehow managed to BS my way through a term paper in English class my junior year by writing about W.A.S.P. and their lyrics. Especially considering their song titles and lyrics were far from being subtle. I mean the first side of Live…In the Raw has the song “9.5.-N.A.S.T.Y” just as a tune-up for everything to come.

But despite the fact that Lawless considers the Inside the Electric Circus album his least favorite release from the band, the title track is perfect to kick off the show. You can just imagine the crowd going crazy as the band played this track.

They follow that with a cover of the Ashford & Simpson song “I Don’t Need No Doctor”. Considering the original song is a R&B number, this might be one of the strangest covers for a metal band to do, but W.A.S.P made their own version of the track, ramping everything up to ten and leaving the original song in the dust.

Following that up with “L.O.V.E. Machine” and “Wild Child” before you get to “9.5.-N.A.S.T.Y.” in the track listing. The first side of the album ends with the ballad “Sleeping (In the Fire)”. That’s from their first album and like I said in that article, the album has aged perfectly and remains a ballad that I can actually enjoy even now.

When you flip the cassette over to Side Two, you get the full bore anti-authoritarian stance from Blackie Lawless that made me sit up and take notice from the first time I heard his stage rants on this album.

Given that they still must not have been allowed to include the song “Animal (Fuck Like a Beast)”, the second half of the album opens up with the first of two tracks that were written specifically for the Live…In the Raw album and weren’t on any of the three studio albums. That track is called “The Manimal” and by way of introduction, Lawless refers to the track as being “The son of “Animal” before he launches into an explanation about the song’s origins (or at least what I think is the song’s origins anyway). The intro might give those given to handwringing these days a bit of a pause, but the song is actually pretty tame lyrically. Now, don’t let that fool you into thinking the song isn’t any good. It’s still prime early-W.A.S.P. and the single entendre dripping sexuality dripping from the lyrics is there for all to see.

The song “I Wanna Be Somebody” comes up next in the set list and if you are wondering how it sounds live, let me just say that there’s a reason this song is still going strong more than four decades after its original release.

Now for me, the second of the two songs written specifically for the album is pure defiance from Blackie Lawless and his battle against the PMRC over censoring music. And in the intro for the song “Harder Faster”, he fires both barrels at them with what he says from the stage. I used to be able to do the piece word for word from memory but I had to look it up in order to include it in this article. 

“Let me ask you something. I’ve been reading an awful lot in the newspapers and the magazines about me and my boys here. And I was reading one article in particular about an organization, you might heard of them before, they’re called the PMRC.

Well I read, I read that they said that they think that We Are Sexual Perverts. Now, this is coming from an organization called The Washington Wives. And I don’t know about you, but to me, that sounds like some sort of goddamn Jackie Collins Hollywood fuckin’ novel if you ask me. Well this is for that whole bunch, because they can “Suck Me Suck Me Eat Me RAW!” This is “HARDER FASTER”.”

Oh man, I tell you I freaking loved that intro. I may have thrown the middle finger in general every time I heard that song just on principle alone. And as he ends that last line, the music kicks in and it is a fully rocking track as the song serves as a musical response to all the crap W.A.S.P. and metal bands in general were facing from self-appointed moral crusaders.

The show closes out with what might just be W.A.S.P.’s signature track “Blind in Texas” which is just a balls-out rocker that seems to get better each time you hear it.

But as the live show comes to a close, there is still one track remaining. It’s a studio cut called “Scream Until You Like It” and it was used on the soundtrack for the horror film Ghoulies II. It’s a pretty decent track in my opinion though I’ve only heard it on Live…In the Raw and not from viewing the movie itself or anything.

While my enjoyment of most live releases has waned over the years, those live releases I discovered back in the 1980s still hold a special place in my musical heart. And it is no surprise that W.A.S.P.’s Live…In the Raw stands out to me as one of the best of the 1980s.

NOTES OF INTEREST: The album was reissued on CD in 1998 and included four bonus tracks. Three were live tracks, though I don’t know if they came from the same show as the main album cuts or not. Those songs are “Widowmaker”, “Shoot From the Hip” and “Sex Drive”. The final bonus track is an acoustic version of the song “Sleeping (In the Fire)”.

This was the final album to feature drummer Steve Riley. He left the band after the tour and joined L.A. Guns. Riley passed away in October 2023.

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.

HELIX – BACK FOR ANOTHER TASTE (1990)

Over the years I’ve been writing The Cassette Chronicles series, I’ve written about three different albums from Helix, including the very first article in the series.

As 2025 was coming to a close, the band announced they’d be releasing a new album in late January 2026. At first, I was pretty excited because I’ve really enjoyed their last two releases a lot. But when I read the description of the material that was to be featured on the Scrap Metal album, I found myself a bit cooler on the prospects of me picking it up. 

Well that was stupid of me because once I heard the song “Stuck in the 80s”, I found myself thinking, “Damn, this sounds pretty damn good!” So of course now I want the album in my greedy little hands ASAP.

But that wasn’t the only bit of current Helix news that led to me writing about the band again. My friend George Dionne recently did a pretty damn good interview with singer Brian Vollmer that was packed with a lot of great information. It’s well worth the view/listen if you go check it out over on KNAC.com. 

So when I discovered a copy of Back For Another Taste on cassette while helping out at Purchase Street Records last week, I just felt the need to write about it given all the ties with the band I’ve been finding myself with of late.

Of course, it’s all about the music from this point, so let’s talk about the first side of the album.

Side One opens with the song “The Storm”. I found this song to be a bit odd, for me, as an opening track. Despite the fact Helix made a video for the song, it didn’t quite feel like a song you’d want to set the stage for the rest of the album. I say this because the way the song opens, it is just a bit slower than I guess my own personal preferences would’ve liked. Of course, once the second verse comes into play, the music ramps up into far more of a driving rocker tempo and suddenly the song got a whole heck of a lot more interesting. And I freaking loved the guitar solo from Paul Hackman in the song as well.

Funny enough, it was the album’s second song “Running Wild in the 21st Century” that I initially thought would’ve been more suited as the album’s opening cut because it was a full-throttle rocker pretty much from the start. 

And that’s why you can’t just go on first impressions even when checking out an album for the first time, even 35 plus years after the fact.

For the song “That’s Life”, I found it to be another foot-stomping rocker with a slight bluesy sound woven into the track’s intro. The rhythmic delivery of the vocals from Brian Vollmer was quite good. But you know what really sold the song for me? It was the drumming from Greg “Fritz” Hinz. His work behind the kit is vitally important to establishing the foundation upon which the rest of the track is built.

There is yet more uptempo thump to the musical score of the song “Breakdown” but it isn’t quite as fast as any of the first three songs on the album overall. 

The closing track of Side One, “Heavy Metal Cowboys” conjured up expectations of an anthemic rocker when I saw the title on the cassette insert. The song didn’t quite hit that crowd chanting with fists pumping in the air mark for me, but don’t let that you fool you into thinking I didn’t like the song. I  was rocking out to the track pretty much from start to finish. I just don’t know that I’d be shouting out the “Heavy Metal Cowboys” line if I was seeing them in concert. It just didn’t feel like it would be a part of the show where you’d get crowd participation. 

When I flipped the cassette over to Side Two, I got treated to the album’s title track right there at the start. And I really dug the song. The main lyrical verses were a tad slower than what you got in the chorus but man, this song really had me wanting to pump my fists in the air and sing along to the song’s title in the chorus. The song “Give It To You” also employs that same kind of anthemic feel to the music and lyrics as well.

One of the things I’ve appreciated with some of the material from Helix is how they seem to have a sense of fun injected into their songwriting. I don’t know if that’s by their design or just how I take some of their songs but for songs like “Rockin’ Rollercoaster”, it is just a FUN rocker track.

While Helix did avoid balladry for the most part on this album, they did have the song “Good to the Last Drop”. But I’m not sure it’s really a straight up ballad in true. The music is slower at the start, pretty midtempo overall. It’s the chorus where the music reaches a crescendo and the entire delivery of the band changes into more of a dramatic rocker feel. That continues from the guitar solo through to the end of the track. So, power ballad might fit as the best kind of description for the song. And you know what, the song is pretty damn good too. It ages well and I enjoyed listening to it each time I played the album through for the writing of this article.

The song “Wheels of Thunder” closes out the album and it is a rocking, rollicking good time. The rat-a-tat-tat drumming in the intro gets you amped up as the rest of the musical score kicks in with a fiery delivery. It’s a nicely drawn track that features the band firing on all cylinders.

But you know what song really struck me the strongest on Side Two? It is the song “Midnight Express”. There’s a rocking groove to the delivery and when I was first listening to the song, I was easily drawn in by the vibe that Helix was creating with the music. It has a really cool hook in the music. This is a killer tune!

It seems every time that I write about a Helix album I enjoy it so much that it makes me long for the band to play a gig near me so I can see them live. And that’s the case here with Back For Another Taste. You get eleven tracks that amply demonstrate that Helix just knows how to craft some damn fine rock and roll!

NOTES OF INTEREST: The Back For Another Taste album was the last one that Helix recorded for Capitol Records. It was also the last album that guitarist Paul Hackman recorded with the band. He was killed in an accident in 1992 while on tour with the band. 

The UK edition of Back For Another Taste  contains an extra track, which is the “Wild in the Streets” song that was the title track for the band’s 1987 album. 

The song “Running Wild in the 21st Century” won the Music Video of the Year award in 1990 from MuchMusic.