The Cassette Chronicles – Bad English’s ‘Backlash’


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.


You’d think when an assembled supergroup releases a smash hit (and platinum selling) debut album that when they released a second album, there’d be some expected fanfare for the follow up release.

The self-titled debut album from Bad English was a big hit spawning two big hit singles and making the lineup of singer John Waite, guitarist Neal Schon, keyboardist Jonathan Cain, bassist Ricky Phillips and drummer Deen Castronovo into a pretty famous act of their own accord. Yes, the members (except Castronovo) all had pretty big careers in their own right prior to Bad English with stints in The Babys and Journey. All that has been well covered. But these supergroup projects rarely make much of an impact. Whether you like AOR (or melodic rock as it is now known as) or not, Bad English was damn impressive when they first hit the scene.

And that’s what makes it weird that their second and final album Backlash was a total failure. I couldn’t remember why I had no memory of the album before now. I know I never bought it but was stumped as to the reasons why. I did a little searching on the Net and as it turns out, I think I just didn’t bother because there was no point in continuing with the band. Apparently, they broke up before Backlash was even MIXED. I mean if the band isn’t going to stand behind the album, why should I? At least, that’s what I think I must’ve been thinking back then.

For all the back room stuff going on that led to the band’s derailment, when I pulled the album out of The Big Box of Cassettes, I was really intrigued to give it a listen and see if I’d missed out on anything big.

It turns out that I did. There’s a pretty good selection of material on the album and it definitely represents the musical genre well.

The opening cut on Backlash is “So This Is Eden”. It’s a pretty fast paced rocking kind of song that gets you amped up pretty quickly. The song is good but I did make note of how the guitar featured in the song seemed a bit edgier than I remember from their first album.

“Straight To Your Heart” was the only song to be released as a single (It’s didn’t make the Top 40) but it’s another good honest slice of AOR rock and roll.

The album’s biggest failing for me was the inclusion of back to back ballad tracks on Side One. Now, I should say that “Time Stood Still” has a pretty interesting guitar line throughout the song. Unlike “The Time Alone With You”, which was far too sugary in its sentimental nature, “Time Stood Still” isn’t a BAD song. But neither song really does much to rise above the expected conventions of a power ballad from the 1980’s – early 1990’s. And since that’s the case, I found both songs otherwise kind of run of the mill.

But don’t despair music fans! The first side of the album closes out with a killer rocking song in “Dancing Off The Edge”. There’s a great hook and John Waite really sells the lyrics with his vocal performance. It is probably my favorite song of the entire album.

Speaking of John Waite’s singing, the opening track on Side Two, “Rebel Say A Prayer”, really gives him a spotlight. Musically, this rocker is pretty spectacular. When you combine that with another epic vocal delivery from Waite as he sings about a guy going on the run from a crime he committed and his woman standing by and going with him, the song just takes off. While the storyline of the lyrics isn’t quite the same, this song reminded me quite nicely of the Bad Company song “Boys Cry Tough” from their Holy Water album.

“Savage Blue” may sound like the title of a police thriller novel but the song has a compelling guitar solo to mix with the song’s mid to uptempo groove. Neal Schon’s guitar work really got the most interesting to me on “Pray For Rain”. The lines and solo he plays are outstanding and further serve to fuel the song when combined with the slightly darker tone or dramatic phrasing of the vocals by John Waite.

As you might expect by the title, the song “Make Love Last” starts out as another typical ballad. However, the song quickly sheds the softer side of itself for a more intense in your face approach and suddenly you find yourself in the midst of a strongly constructed rock number.

It’s a little odd to hear a song with a sarcastic take on the nature of fame when you are a famous/successful rock band but the Backlash closing song “Life At The Top” somehow manages to work around what would seem to be an insurmountable impediment. Plus the way it rocks out to the end gives the listener once last whipsaw rush of adrenaline at the end of things.

The searching I did led me to mentions that Schon and Phillips didn’t like the commercial nature of the music the band was doing and that John Waite wasn’t all that happy with the “corporate” rock image Bad English had.

But for me, since the band wrote or co-wrote the material on the album so I don’t quite understand what their problem with the songs were. It wasn’t like the songs were foisted off on them or something.

I’m not going to say that I think Backlash is a better album than Bad English. I’m just a huge fan of the latter album. But now that I’ve finally given the band’s second album a fair chance by actually listening to it instead of outright dismissing it (like the band and general public seemed to do back in 1991), I found myself confronted with a pretty entertaining slice of melodic rock that deserves far better than being consigned to the bargain bin of music’s memory.

NOTES OF INTEREST: Despite the band having released just two albums, there was a greatest hits compilation released in 1995.

Their self-titled debut album was given a remastered release by Rock Candy Records in 2017. It contained remixes of the songs “Price of Love” and “Forget Me Not” as bonus tracks.

John Waite still enjoys a solo career while Neal Schon and Jonathan Cain remain mainstays in Journey (despite recent well publicized acrimony between the two of them), Ricky Phillips has been with Styx since 2003 and Deen Castronovo spent 17 years in Journey before being fired and is currently part of the lineup of The Dead Daisies.



By CHRIS ALO (Freelance writer for Limelight Magazine)

More than three decades after releasing their debut album and nearly forty years after they formed, progressive hard rock power trio Kings X are hard at work on a brand new studio album, offering their first new music in more than a decade.  In 2019, hard rock’s biggest “cult” group continues to do what they do best in bringing their unique mixture of prog rock, hard rock and beyond to the masses.  But this summer they are seemingly wasting no time though as they literally heading straight from the recording studio and jumping onto the tour bus.

But it has been anything but an easy ride for Kings X. Bassist and vocalist Doug Pinnick, drummer Jerry Gaskill and guitarist Ty Tabor have all individually stayed the course and kept the band together this entire time, something which is unheard of today.  Yet despite having the same lineup and having recorded albums for a number of record labels and toured the world relentlessly with an incredibly varied lineup of artists, true commercial success has still eluded them.

For those not in the know, Kings X released their first album Out of the Silent Planet way back in 1988.  Their 1989 follow up Gretchen Goes to Nebraska is considered by many as one of their strongest releases, yet still unfortunately failed to make them a household name.  Over the years Kings X released albums through Megaforce Records, Atlantic Records, Metal Blade Records, Inside Out Music and have now landed at their new home, Golden Robot.  They have shared the concert stage with a diverse range of touring partners including the likes of Anthrax, Motorhead, Dio, Dream Theater, AC/DC, Iron Maiden, Pearl Jam, Billy Squire, Motley Crue and the Scorpions, among many others.

Despite changing record labels, health setbacks and having never tasted breakout success, Kings X is one of the most respected and hard-working rock acts in the music business. With a new book chronicling their history, a feature film documentary on the horizon along with a new studio album, the future seems pretty bright for the power groove trio.  Drummer Jerry Gaskill talks to Limelight Magazine right before heading into the studio to work on the new release as well as an upcoming tour date at the Vault Music Hall at Greasy Luck in New Bedford, Mass., on July 9, 2019, with special guests blindspot and Analog Heart. Purchase tickets HERE.

ALO: Hello Jerry, how’s it going?

GASKILL: Good thanks, things are really good.  I’m really sorry I missed you the other day, we started filming a documentary and I totally forgot about our interview.  It just slipped my mind.

No worries at all, I know you are extremely busy.  But OK, let’s start with the documentary.  How is that going?

GASKILL: Great, yeah we are doing a film, a documentary with a guy by the name of Roy Turner, who is part of Tricky Kid Productions.  I truly believe that he is the guy to make this movie.  He is a fan, he believes in us and he wants to bring our story to the world.  Even people who don’t know who Kings X are, he wants to make those people aware of us.  And I think that is the perfect situation.

ALO: More film makers seem interested in making documentaries about rock bands ever since the Anvil movie.

GASKILL: Yeah, definitely and I am very very grateful.  It seems like the right time and the right people.  It’s kind of exciting for us.  We also have a book out right now too.

AL0: King’s X: The Oral History, by author Greg Prato was released earlier in 2019.  Is the film a companion piece to the book or anything like that?

GASKILL: Right, Greg did the book.  But no, the book stands alone; they are totally different entities, except that they are both about Kings X.  It is kind of a good feeling; it feels like something is happening is here, like something is on the rise.  I’m not sure.  I don’t want to get too ahead of myself but I have believed in my band and this career from the beginning, so I’m not going to stop that now (laughs.)  And we are doing a new record too, so it’s like a triple threat.

ALO: Yeah I wanted to ask you that as well.  This is your first album in a decade.  What can you tell us about the new material?

GASKILL: We have all been writing but I haven’t heard much of anything really.  I haven’t heard much of their stuff and they haven’t heard much of my stuff.  We fly out to L.A. to start the record in a few days.  We haven’t done anything except talk about it, so on Monday we fly out to L.A. and start doing it.

ALO: So when the three of you get together, that’s when the process begins of putting everything together?

GASKILL: Correct, all three of us together and recording a new album together, that’s right.  I have no idea what direction the album is going to take, it’s just going to be where we are now, what we are thinking, what we are feeling.  None of us know what that is going to be

ALO: Is there a plan for release of the album?  

GASKILL: I have heard things here and there.  There has been talk about a release in fall of 2019, but to be honest, that’s not something that I am even thinking about right now.  Right now I am thinking on Monday, I am flying to LA and making a record.  For release dates and things like that, I am leaving that up to other people (laughs).

ALO: When you have done records in the past, how long does it typically take?

GASKILL: Well like you said, it’s been over ten years since we did a record, so it’s been so long, I kind of don’t remember (laughs).  I don’t remember what the process is.  But this one will be a whole new process since now we are all in different areas.  So we’ll see what happens.

ALO: So it’s been a decade since you recorded new music, how does that feel?

GASKILL: Well it’s kind of exciting but kind of daunting.  It does give me some anxiety.  I always get worried about, well, what if it’s not good enough?  There is always that aspect.  So it’s all those things rolled up into one.  But once we get together, I am sure it will be just fine.  But somebody said something recently.  Most of the things we worry about, those are things that usually never happen anyway.  So I am just taking each day as it comes,man.

ALO: This will be your first album on your new label, Golden Robot.  Obviously they haven’t released anything yet, but how has it been working with them thus far?

GASKILL: Well we haven’t done a lot with them.  But we have spoken with them, and I do think that they believe in us.  I think that just like with Greg Prato with the book and Roy with the movie and now with Golden Robot, it just feels good and it feels like now is the right time to do all of these things.  You know, I didn’t want to make a new record until it felt like it was time.  I didn’t want to do it until I thought it was the time that we could make the best record possible and it seems like now is that time.  Well, I guess we will see, won’t we (laughs).

ALO: Over the last few years you have had health issues, you lost your home due to Hurricane Sandy, and will these terrible tragedies affect the direction on the record?

GASKILL: Well, I don’t know if it will be a conscious affect on the record.  But I can tell you, that it has definitely given me a different perspective on my life.  Some of the songs that I have been writing do have some of those things thrown in there with the lyrics and whatever.  But I just learned that tragedy often times, or sometimes can cause greater things than we ever imagined.  I found that in my case.  I died, I came back, I had a heart attack, and Ilost everything in Hurricane Sandy, all those things.  But each one of those things turned into something that I thought I never could have imagined.  So there you go.

ALO: I guess you are living by the old adage, that which doesn’t kill you makes you stronger?

GASKILL: I guess it just depends on how you deal with things.  It’s easy to let things overwhelm you and take you over.  And just say forget it, I’m done.  Or you can rise up and learn from those situations and become better.

ALO: You are going out on the road at the end of June for a number of shows.

GASKILL: Oh yeah, I am looking forward to it.  I always look forward to doing shows and playing festivals and playing places we haven’t been yet.  We are going out on our first weekend after we done recording our new album.

ALO: Will you be playing any new material at these upcoming shows?

GASKILL: I have no idea.   I don’t know if we are going to be playing any of the new material (laughs).  I don’t know even know what the new material is going to be yet (laughs).

ALO: It seems that so many musicians are fans of Kings X.  Why is that?

GASKILL: I don’t know, but it sure seems that way.  I am honored by it.  I am a little baffled, but always honored.  It’s an honor to think that people that I look up to can turn around and look up to me as well.  That’s a pretty amazing thing to be a part of.

ALO: I know I have seen you personally open for Anthrax, Dio, Motorhead, I’ve read about you opening for Pearl Jam, AC/DC and so many others.  I guess you often get paired up with so many different acts because your band isn’t easily labeled.  Is that a plus or a minus for you?  The fact that your music can’t easily be categorized?

GASKILL: I think it’s a little bit of both.  I guess it’s probably a plus.  It would have been nice to have sold millions of records and make millions of dollars; I am still willing to find that out (laughs).  But it’s also one of those things that if that did happen, we might not be a band anymore.  We could just give it all up and go live on an island.  But like you are talking about, we have respect from musicians and the fans who love us, they really love us.  I have nothing to complain about.

I don’t think anybody really knows where to place us.  That’s the hardest thing with people, so they just place us everywhere and we just go and play.  We’ve done the Monsters of Rock cruise but then we did the progressive rock cruise, then we went and did the KISS cruise, whatever.  You never know where we are going to be.  But I guess that’s because we really don’t fit in anywhere.

ALO: Kings X was a band that was very forward thinking when it came to side projects.  Now everyone that is in a successful band seems to be in multiple bands.  Has that helped you to grow as musicians?

GASKILL: Oh yeah, I think that has helped us.  I know back when we were managed by Sam Taylor, that was something that was forbidden, if I can use that.  But when the disillusionment happened with Sam, I think we all just realized, we can do whatever we want to do.  I know that worked out great with Doug, he is just a part of everything now.  I am in New Jersey and I have played with some great musicians.  But everything has just been great.

ALO: How about playing in South America?

GASKILL: Well I haven’t heard of anything concrete.  We have talked a lot about going to South America, but we have never actually been there.  We have never been there.  We have always wanted to go to South America.  We have always wanted to go to Australia too.  We’ll see what happens.  It’s a little too early to tell, but I am open to whatever.

ALO: It’s incredible that you have been a band so long and there are still places you have not visited yet?

GASKILL: Yeah, I have always wondered why we never went down there.  But hopefully in the future we will.  The future is wide open.

Photo by Jerry LoFaro

The Cassette Chronicles – Armored Saint’s ‘Raising Fear’


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.


When I think back to how I became aware of Armored Saint’s third album Raising Fear, I am pretty sure that it was from an ad in one of the many music magazines I read back in the day. Since this was 1987, there was no online way for me to discover their music beforehand. I certainly had never even heard of their March of the Saint or Delirious Nomad albums that were released prior to Raising Fear.

So I essentially picked up this album on spec. I know that can be hit or miss, but in this case it turned out perfectly as I came to regard this album as one of the band’s best releases and it still stands the test of time.

While the album certainly wasn’t all that successful in terms of sales figures, from start to finish it shines a light on Armored Saint’s combined talents in such a way that you can’t help but love the album.

The title track opens up the album and you are immediately plunged into a sizzling metallic guitar driven song. Guitarist Dave Prichard made a big impression on me when I was first listening to the album and when you combine that with the vocal work from John Bush, it wasn’t long before I was hooked.

Now, I don’t know how others feel about the cover of the Lynyrd Skynyrd song “Saturday Night Special” but while the song is obviously amped up, I found it retained the charm of the original track.

The song “Out On A Limb” crackles with a surplus of energy, much like the album closing “Underdogs”. Each song gets your pulse pounding with the fast paced blazing intensity.

It’s not all in your face rockers though. “Isolation” is decidedly slower in pacing but there’s a real dramatic presentation to the song. The intensity of the performance grows throughout and the phrasing on Bush’s vocals gives the track even more heft.

While the song “Crisis Of Life” has the expected metal soundtrack, Armored Saint crosses that sound with a rhythmic swinging vibe at the same time. I’m not sure if my description does full justice to the song but when you listen to it, I think you’ll get my meaning.

The second side of the album opens up “Frozen Will / Legacy”. The first part is a relatively brief instrumental highlighting Dave Prichard before the screaming fire of “Legacy” kicks in. The track has a great guitar line throughout and it’s a flat out winning number for me.

There’s a decidedly more vicious sound to the vocals on “Human Vulture”. This gives an added edge to the song. You can apply that opinion to “Terror” as well. John Bush has a quality to his voice that lets him sound really “evil” as the situation calls for.

With “Book Of Blood”, it was the title that first attracted me to the song. I read the title on the back of the cassette and instantly wanted to hear it. I suppose having an expectation for a song based on its title is a bad way of doing business but it ended up living up to those admittedly ridiculous teenage rebel without a clue expectations

As you can see by now, I just love the Raising Fear album. But as much as all the other songs appeal to me, it is the one song I haven’t mentioned yet that cements that love. “Chemical Euphoria” is bar none my favorite Armored Saint song. It’s a killer metal anthem from start to finish. The pace blisters your ears and I’d daresay that this track is where the band melds together in perfect fashion.

When I saw the band live in the summer of 2018, this was the one song I hoped to hear performed. It did make the set list and it blew me away. When I listen to the album and “Chemical Euphoria” starts to play, I still get the same feel of my blood pumping that much faster through my veins. That’s how I felt the first time I listened to it and that feeling continues no matter how many times I listen to it.

Raising Fear may not be recognized as a must have album for your collection by the large portion of the metal audience, but for me anyone that doesn’t appreciate the overwhelming greatness of this release just doesn’t realize what they are missing out on. It’s a great example of just how to put together an album that, as I said before, stands the test of time more than three decades after its original release.

NOTES OF INTEREST: This was the last album that guitarist Dave Prichard recorded with the band. He passed away in 1990 before Armored Saint recorded their Symbol of Salvation album.

The band was dropped by Chrysalis Records after Raising Fear was released.

Though the song “Crisis Of Life” appears as the last song on the first side of the cassette release I own, the Wikipedia page lists it as a CD-only bonus track.

The Cassette Chronicles – Reo Speedwagon’s ‘Hi Infidelity’


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.


While this series is called The Cassette Chronicles, if you were to file this particular article under a sub-heading it would likely be “Albums My Mother Wouldn’t Buy For Me When I Was A Kid Because of the Cover Art”. I think if you look at the cover art and remember the time that it came out, you can probably understand why a parent wouldn’t buy the album for her nine year old. I actually had to hear the album in full for the first time at a friend’s house because he had it while I was out of luck until a few years later when I got my first job and could buy whatever music I wanted.

The funny thing is, the album art actually didn’t make any impression on me at that age. Instead, it was the song “Tough Guys” that made me want to have the album. Between the audio snippet from the “Our Gang” serials (“The Little Rascals” for those who don’t recall the other name) that fronted the song to Kevin Cronin singing “She thinks they’re full of shit”, to a nine year old who loved the “The Little Rascals” and didn’t quite yet have fluency in profanity, this was just a COOL song!

Of course, without strong songs the album wouldn’t have gone anywhere. However, a lack of material wasn’t a problem for REO Speedwagon on this album. The songs ranged from straight up rockers, power ballads and even songs that sounded as if they belonged in another era (The song “In Your Letter” stirs up echoes of 60’s pop music).

The first side of the album features the most recognizable of the band’s songs. Kicking off with the sublime rocker “Don’t Let Him Go”, the band moved with ease from one song to the next and keeps things on an electrifying high throughout. I think anyone who grew up in the 80’s has to know the #1 hit “Keep On Loving You”. This was back when the ballads were part of the whole instead of that calculated “We Need A Love Song” type of track so I actually still rather enjoy the song.

As for “Follow My Heart”, it’s got a huge hook to it but at the same time it’s a dynamically powerful vocal performance set to a killer rock sound as well. “Take It On The Run” was another big hit for the band and it remains one of the songs I remember liking right away when I first heard it.

The second side of the album kicks off with “Tough Guys” and like I said, I really love the song for reasons explained above, plus the fact that it’s just a damn fine rocker. As for the rest of the song on Side Two, I think it is probably less remembered than Side One because it has more album tracks than singles but the song “Out of Season” is an outright underappreciated classic. It’s a burning bright rocker and I have to say that I probably forgot how much I liked it until listening to the album again for this article. “Shakin’ It Loose” also rocks out pretty fast. “Someone Tonight” isn’t quite as fast, but still moves to a quicker beat. The album closes with “I Wish You Were There” which despite the notion the song’s title might give you, isn’t quite the same kind of ballad that “Keep On Loving You” is. However, like that song, “I Wish You Were There” is a rather appealing number (the backing chorus helps give an extra dimension of depth to the song) and actually does a pretty remarkable job of straddling the line between rocker and ballad to bring the album to a fully satisfying conclusion.

While these days the band occupies the classic rock package tours you see going out every summer, REO Speedwagon was arguably the hottest band in the country in the early 80’s on the strength of the Hi Infidelity. If this album was released today, it would be filed under the “melodic rock” banner. However you think of the band, this was a huge high point for them and for my money, the album still resonates as strongly today as it did back then.

NOTES OF INTEREST: Hi Infidelity has been certified ten times platinum and hit #1 on the album chart when it was released. The album was reissued in 2011 for the 30th anniversary and included a second disc that had demo tracks from the original recording sessions.

Guitarist Gary Richrath, who passed away in 2015, left the band in 1989.

Mr. Mister’s Richard Page is credited with providing backing vocals on the album.


‘Mysterious Items of the Occult’ event at Narrows Center in Fall River, Mass.

Are you a fan of “The Conjuring” and “Annabelle” films? Are you interested in the mysterious and sometimes terrifying realm of the supernatural that inspired these films? Do you want to know more about the case files of famed paranormal researchers Ed & Lorraine Warren? If you answered yes to any of these questions, then join us on August 3rd for an event like no other at the Narrows Center in Fall River, MA. Purchase tickets HERE.

For this supernatural evening called “Mysterious Items of the Occult,” we welcome you to join us as Mr. Spera discusses the real stories of the Warren Case films, including “The Conjuring” and “Amityville Horror” cases. After you hear these intense stories, Tony Spera, son-in-law of Ed & Lorraine Warren, will present the Conjuring mirror, a five-foot antique mirror used for summoning spirts, as well as other infamous and diabolical objects from Ed & Lorraine Warren’s Occult Museum, which houses the largest array of haunted artifacts and items that have been used in occult practices throughout the world.

Along with these detailed accounts, you will get to witness an actual exorcism of a farmer from Massachusetts and hear actual recordings taken from the Enfield Poltergeist case featured in “The Conjuring 2.” The Enfield Poltergeist is a case of demonic possession that the Warren’s helped investigate for a family in England.

Participants will also view a video tour of the museum, hosted by Mr. Spera and the late Ed Warren who died in 2006. In the video, Mr. Warren discusses in detail the various artifacts housed within the museum.

Lastly, Mr. Spera will answer any burning questions you may have about the paranormal realm.

The Narrows Center is located at 16 Anawan Street. Tickets to his show can be purchase online HERE or by calling the box office at 508-324-1926. For those wanting to purchase tickets in person, box office hours are Wednesday through Saturday, 12 noon to 5 p.m.


Tony Spera is a paranormal researcher and the son-in-law of famed paranormal researchers, Lorraine and Edward Warren. Tony has worked with the Warren’s since the mid 1980’s and is considered an expert in paranormal research. A former police officer, Tony holds an Associates degree in Law Enforcement and a Bachelor’s degree from the University of Connecticut. He has appeared on several paranormal television reality shows and has spoken at numerous colleges and universities. Tony was a consultant on two movies, “The Conjuring” and “The Conjuring 2” released by New Line Cinemas. He lives in Connecticut with his wife, Judy.

The Cassette Chronicles – Dio’s ‘Dream Evil’


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’d like to say that I can remember exactly where I picked up the cassette edition of Dio’s Dream Evil album, but I simply have no idea. What I do remember was the reasons I bought it when I saw it. I know that I never saw an ad for it in one of the many music magazines I read back in 1987. Instead, I stumbled upon the album while searching through the wall display at whichever record store I was standing in at the time.

There’s a couple of reasons why the album appealed to me. The first is that at the time I was still a relative newbie to rock and metal fandom and my love of comic books made the song title “Sunset Superman” stand out to me. Yes, it’s a bit silly of a reason to be interested in buying something sight unseen but it’s true. The other reason is that as a new metal fan, I loved the album title and creepy seemingly evil cover art. Again, I know it sounds rather a trite reason but there you go.

Of course, you might be wondering why the simple fact of it being a Dio release wasn’t the reason I bought it. Well, sad to say this but until this album, I really didn’t have any exposure to Ronnie James Dio. I know, right? Living in this world and not knowing who Dio is? I feel a bit ashamed to even admit that fact.

But I think I’ve more than made up for that musical blunder on my part, which I’ll get to later.

As for the album, I know that most people likely prefer Dio’s first three solo album Holy Diver, The Last In Line and Sacred Heart but for me, Dream Evil remains an album that I completely adore.

The album is mostly a fast paced rocking affair. The nine songs on the album all stand out in some way or another. The title track is appropriately themed and the opening song “Night People” gets things off in a rousing fashion.

I’d say that there is a lot more keyboard in the overall sound on this album but I think it helps rather than hurts the material. Of course, there are varying degrees of tempo even within the rocking tracks. “Overlove” (which for some reason appears in bold type on the cassette liner notes while the rest of the songs are printed in normal type) is pretty hard driving, particularly with Craig Goldy’s guitars screaming alongside Dio’s vocals.

When Dio and company (Goldy, drummer Vinnie Appice, bassist Jimmy Bain and keyboardist Claude Schnell) do take their foot off the gas, the tracks “All The Fools Sail Away” and “I Could Have Been A Dreamer” are the result. Each song is simply an epic in and of itself.  On the former, I loved the way Dio sang the lyric line “We bring you fantasy” with a clean and clear delivery and then followed that up with “We bring you pain” with a really dark sounding growl added to the vocal. It’s those small little things that made me instantly love the album.

Now, I mentioned how I didn’t know about Dio before buying this album. It’s been a quite a turnaround for me in that regard. I am a huge fan of Dio these days, to the point of being rather protective of his music whenever I heard a cover band playing one of his tracks. I guess you could say I’m kind of bitchy about it actually. I’ve heard versions where the singer doesn’t quite hit the mark and I can feel the misplaced ire rising inside of me. It’s sad, but true.

I’ve bought everything I could get my hands on as well. Whether it is The Elves, Elf, Rainbow, Black Sabbath, Heaven and Hell or his solo material, if it features Dio (and I’ve heard of it) I’ve picked it up. I can’t get enough of his vocals, of which I am an unabashed fan. I had a friend of mine mention that Dio is the best pure singer that rock and metal has ever had and while there are plenty of other singers I both like and love, I find it hard to disagree with that assertion.

I should mention that the cassette I bought back in 1987 is the one that I listened to in advance of writing this article. It still works fine and the music sounds as great as the first time I listened to it. I tried to see if there was something I didn’t like but I came up empty.

Last week marked nine years since the death of Ronnie James Dio, and yet his legacy remains not only intact but it still seems to be growing. While there is much to celebrate from his career, Dream Evil is not only the starting point for my love of Dio, but it is the benchmark to which I always find myself returning to over and over again.

NOTES OF INTEREST: The Dio Disciples band, which is officially endorsed by Dio’s widow features Craig Goldy in that lineup. They played a show in New Bedford, MA, last summer that I attended. I had purchased a CD edition of Dream Evil prior to that show and it now bears Goldy’s signature.

Meanwhile, bassist Jimmy Bain, drummer Vinny Appice and keyboardist Claude Schnell formed Last In Line in 2012 following Dio’s death in 2010 with original Dio guitarist Vivian Campbell and released the album Heavy Crown in 2016, though Schnell was out of the band before the album was recorded. Jimmy Bain died in 2016 after the album was released. Last in Line has played two shows in New Bedford in the last year or so.

Dream Evil is the last album that featured the mascot Murray on the album cover art.

The Cassette Chronicles – McAuley-Schenker’s ‘Save Yourself’


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.


Though this article is about the second McAuley-Schenker Group album, I first need to go back to the group’s 1987 debut album Perfect Timing album.

In ’87, I was 16 and had a job where I was making my own money. I had very little in the way of bills and could spend the money I made any way I wanted to. Since this was before the Internet and the idea of hearing songs before the album was even released, I would on occasion buy albums just from seeing an advertisement in a magazine. And yes, you could go to the record store knowing that they’d have the album in stock, imagine that!

So I saw the ad for Perfect Timing and was struck by how cool the guy with the guitar looked with his long flowing hair (This would be at the time when I still thought that I could grow my hair long to fit in more with the look of the day). I say “the guy” because I had no idea who Michael Schenker was at the time. As you recover from that bit of musical blasphemy, let’s just say once I did get the album, I was blown away. The album sounded like everything I loved at the time. Commercially accessible sound full of flying guitar work, killer rock tracks and believe it or not, really great ballad tracks. I was hooked!

So when I saw the news that the band was releasing a second album, it went to the top of my list. And with Save Yourself, they didn’t disappoint in the least.

The album kicked off with the title track. The song opens with a kind of mood setting lone bell ringing in the background before Schenker lets loose with a killer opening riff/solo. The song then bursts into flames as waves of pure energetic rock flow over you. Describing the song as fast paced fails to do justice to how relentless it is. Unsurprisingly, the band shreds throughout the song and McAuley’s vocals are not only on point with rapid fire they are in the delivery, but they are also really gritty in the vocal inflections. I’l say that by this point, he’d become a singer I greatly admired at the time. I thought he was just a fantastic vocalist!

While “Bad Boys” is slightly less frantic in the delivery, it is still a pretty uptempo anthem that kept me on the edge of my seat.

When talking about Perfect Timing earlier in the article, I mentioned how I loved the power ballad tracks on the album. You can say that about those type of tracks on Save Yourself as well. The song “Anytime” gave the band their most successful track of their three album run in terms of chart recognition. And while I’m really down on ballads these days, it is a highly enjoyable song.

The more rocking side of the band returns with “Get Down To Bizness”. The first side of the album comes to a killer conclusion with more of a mid-tempo rocker called “Shadow of the Night”. The track settles quickly into a groove quickly and locks it in for the length of the song.

Every song on the first side of the album is superb, and it sets the stage for more rocking good music on side two. I will say that while the instrumental “There Has To Be Another Way” wasn’t quite necessary to be included, it is a pretty decent run through by Schenker and company.

Otherwise, the second side of the album features five more songs that further cemented my opinion of just how great the band was at the time. “What We Need” kicks things off, rocking its way into your head. The title of “I Am Your Radio” might seem a bit silly, but when you listen to the song, it’s an undeniable rocker that captures the imagination and if you are like me, it kind of served as a personal anthem at the time you first heard it.

“This Is My Heart” definitely falls under the power ballad classification but it has far more of an uptempo feel to it at the same time. The lyrical sentiments are what gives it the ballad feel, but I really appreciated the lack of complete slowdown musically.

Two more adrenalized rockers close out Save Yourself with “Destiny” being a blazingly fast and intense track and “Take Me Back” sealing the deal for just how great the McAuley-Schenker Group was. The musical partnership between singer and guitarist was a fertile mix of great guitar and vocals and had both the songs and musical chops to pull off this vastly commercial sounding project that is flush with great music that doesn’t give you the feeling that they were “selling out” for more of a chance at monetary success.

At the beginning of the McAuley-Schenker Group’s run, I didn’t realize that this more mainstream hook laden sound was not what Schenker was best known for. I know that the majority of his fans comes from Schenker’s time with the Scorpions, UFO and the Michael Schenker Group. But for me, the three McAuley-Schenker albums will always be what I most remember him for. My love for Robin McAuley’s vocals remains unabated as well.

If you love great guitar work with the more accessible sound of the mid-to-late 80’s rock and metal, you’d be doing yourself a great service by picking up Save Yourself and diving headlong into some of the most entertaining rock of the day.

NOTES OF INTEREST: I attended the May 10th, 2019, Michael Schenker Fest concert in Worcester, MA. The show featured Michael Schenker playing songs from throughout his career and included Robin McAuley singing three songs from Save Yourself (plus one from Perfect Timing) during the course of the show. In fact, given the band lineup for this tour, four-fifths of the lineup that recorded the Save Yourself album (including drummer Bodo Schopf and guitarist Steve Mann) were onstage during the performance! It was utterly awesome for me!

The album got a Japanese reissue in 2000 that included three bonus tracks. Two of them were the radio single edits of “Save Yourself” and “Anytime” but the third bonus cut was a previously unreleased song called “Vicious”.

The album was produced by Frank Fillepetti, who had produced Survivor’s Too Hot To Sleep album in 1988. Singer Robin McAuley would go on to front Survivor for five years between 2006-2011, though he never recorded any music with the band.

Music and entertainment coverage since October 2006!