As Yet Untitled
Review by Larry Toering
Pulling out all the stops, Doogie White manages to bang out a solo album, whilst having so many other things to do. He is teamed up with by a stellar assortment of musicians that make this hard rocker come equipped with a lot of variety of styles, for an AOR / prog friendly slab of metal. This is quite an achievement for such a busy artist who has spent the last decade working with a plethora of bands, such as Tank, Demon's Eye, and road work with Jon Lord, among too many other projects and touring going on to mention. It will grab hold and not let go of your ears, until they're fully satisfied and begging for more. Several locations were used to complete the recording, which wound up being Sweden, Scotland, England, and Florida. The outcome is a must have for any rock fan, and they can expect their money's worth and then some. The first track's intro alone is worth its weight in gold, and this is some of his best work to date, since achieving global attention in 1995 with Ritchie Blackmore's Rainbow. Everything is well put together with a killer vocal delivery, which takes on a different sound as the songs progress.
|Track by Track Review
|Come Taste The Band|
A cosmic keyboard intro from Tony Carey blasts into a solid rocker with an infectious chorus including backing vocals by Patti Russo. This also features Marcus Jidell and Phil Hilborne on guitar, Greg Smith on bass, and Patrick Johnson on drums. All deserve a mention for this outstanding performance. The title is of course taken from a 1975 Deep Purple album, as that band is largely a common denominator where White is concerned.
This is a little slice of AOR perfection, as things begin to take on the shape of many things prog. There doesn't seem to be any way to really limit what's going on here, as it somehow makes a lot of its own magic. The thought of a hit comes to mind instantly.
|Dreams Lie Down And Die|
Now this is something else, and from here out it's prog metal galore. There are excellent lyrics and Jidell does some guitar work reminiscent of a certain Ian Gillan track, which brought a smile to my face. What a smoking number this is, the kind of thing you put on repeat.
With a nice chugging guitar from Pontus Norgren, White adds a vocal to die for. With fantastic lyrics and a groove that simply won't quit, this is a contender for a favorite. It's awesome how he sings here, in that 80s sort of metal style. This is killer!
|Land Of The Deceiver|
This is simply an epic track with tons of atmosphere and mystique. It has a dueling guitar arrangement and more out of sight lyrics. I probably would rate it as the best composition on the disc.
Holding up along with “Time Machine,” this is another chorus heavy tune with White's humor and wit completely intact, even though it's about lost love. There is a slow mid-section that turns into a blistering guitar solo, after much twin axing between Norgren and Hilborne.
|Sea Of Emotion|
Another great AOR driven track, this has White's opening lines very reminiscent of “Without You,” the Badfinger penned tune, first made popular by Nilsson. This adds an instant familiarity which holds on throughout the track. It's that inspiring.
|Cats Got Yer Tongue|
This is by far my least favorite, but it still has a fantastic chorus and some beefed up background vocals to spice it up, with more tasty licks from Norgren. It’s a bit repetitive, but nevertheless very good. I just find it to be the low point, if there is one.
|Living On The Cheap|
This is great, a cross mix of AOR and metal prog, which isn't easy to pull off. It might not be the best track but it's easily one of my favorites. This one has the best chorus likely of them all here, and it features Derek Sherinian on keyboards. Did I say “prog?” Well, it's a factor that can't be denied as a flavor on this release. I also love the drums here, by Patrick Johnson, and White's ever present humor is its charm.
|Times Like These|
Talk about going out in style, this is as good as anything here. It feature’s White’s Tank band mate, Mick Tucker on guitar. This is a classic example of saving some of the best for last, but certainly not least.
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