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Classic Songs to Be Discovered, Derivative Works, Influenced, Music, Unsung Heroes

The Record Vault: Don Dokken – Up From The Ashes

I know, I know. I mentioned that “Lightning Strikes Again” is the last Dokken album I purchased and that would bring to an end my Record Vault posts on Dokken. But as I was filing away the CD’s I realised there is one more album that I have which I forgot about.

Released in 1990.

“Up from the Ashes” is an excellent record. No one talks about it, but I love it. It’s better than some of the records that outsold it. And it’s been missing from Spotify for a long time but it made an appearance sometime last year.

Released under the name of Don Dokken due to a legal challenge by Pilson, Lynch and Brown to stop him from using the Dokken name. That’s another story on its own. That shouldn’t detract from the album not going platinum. But Don believes it did.

Joining Don on the project are John Norum and Billy White on guitar, Peter Baltes on bass and Mikkey Dee on drums.

“Crash ‘N Burn”

It’s written by Don Dokken and Billy White, who played guitar in Watchtower, a progressive math metal band that released two albums in the late 80’s.

How good is the melodic flamenco and calm acoustic guitar intro?

It then gives way to some blistering and melodic hard rock.

And its personal. “Crash and burn to live again, up from the ashes, I rise” sings Don.

Check out the lead breaks, they are excellent.

“1000 Miles Away”

Written by Dokken and John Norum, it’s one of my favourite tracks on the album.

Those chants/ahhs in the Chorus when Don sings, “there’s nothing left to say as I send these words a thousand miles away” are excellent.

“When Some Nights”

Written by Dokken, Norum and White.

The intro brings back memories of “Still Of The Night” from Whitesnake or “Crying In The Rain”. Don sings, “take me back” and a staccato chord is played, then he sings “to a place I remember well” and another staccato chord is played.

“Forever”

Written by Dokken and engineer Wyn Davis. The feel is basically “Heaven Sent” reincarnated. I’m all in with the clean tone to distortion dynamic.

“Living a Lie”

Written by Dokken and Norum, who delivers a machine gun killer riff to kick off the song. And I’m swept up with the music thinking of the Chorus to “Don’t Lie To Me”.

And the lead break is shred-a-licious.

“When Love Finds a Fool”

Written by Dokken and Glenn Hughes.

For a power ballad it’s a favourite. It starts off with arpeggios and a bluesy like lead. The way the song percolates is haunting and then the Chorus with Glenn Hughes on backing vocals crashes in. You can hear the pain.

No one likes break ups. It’s painful. You think of the time wasted and opportunities missed to grow your life. And your starting fresh. It’s scary and the people you knew, you don’t know anymore.

Make sure you check out the lead break and how it builds itself up so the Chorus can crash in again.

“Give It Up”

Written by Dokken and White, a rolling bass line and simple 4/4 drum beat kicks off this AC/DC style rocker in feel. Otherwise it’s a melodic rocker.

Cause when it’s all said and done
Who’s gonna put away the gun

Most of us die from our own doing. Either our own vices and addictions or by our own hand. The gun is the least of our worries.

“Mirror Mirror”

Written by Dokken, White and Mark Spiro. It feels like the Intro/Chorus riff is played by the fingers and not a pick.

Mirror, mirror on the wall
I’m still here, I survived it all

Whatever drags you down, don’t let it. Relationships will always disappoint you and so would that dream job.

Be a survivor.

And the lead break is guitar hero worthy. If you like great guitar playing, check it out.

“Stay”

From my understanding it’s an unfinished Dokken cut which finally gets some love and attention here.

Written by Dokken and Mick Brown with a bass intro played by Tony Franklin. And it sounds like a Blue Murder cut, just before the distortion kicks in.

How catchy is the Chorus?

Although clichéd, you will be singing along with it and playing air guitar to the very Scorpions sounding lead break.

“Down in Flames”

“Trust me everything is fine” repeats a robotic sounding voice. It feels like its counting down with each repeat and then the music crashes in, to kick off one of the heavier songs on the album.

Written by Dokken and White, the intro riff gets me banging my head.

Lyrically it’s about a relationship, but it could have been about so much more.

After the main lead break there is a little harmony lead break which mimics the Chorus vocal melody. Check it out.

“The Hunger”

Written by Dokken and White. Ken Mary also plays drums on this song instead of Mickey Dee and I remember reading a Metal Edge article about this album which said that Ken Mary actually played on the first three tracks as well, before he was replaced.

And of course the first minute is very drum heavy and aggressive. It settles down in the verses, before picking up again for the pre-chorus and then the Chorus.

Norum gets a lot of accolades as a guitarist and he should, he is excellent, however Billy White deserves a special mention. He co-wrote the majority of the songs on this album and shared the leads with Norum. Other sources state that White did 90% of the leads. I’m not sure which leads White did, but all the leads on the album reminded me of Vito Bratta.

After this album and tour, Don lost his Geffen deal and went with John Kalodner to Columbia to reform Dokken. Norum continued with his solo career and bands, eventually re-uniting with Joey Tempest and Europe. Baltes went back to Accept. Mickey Dee would join Motorhead up until Lemmy’s death and then Scorpions from 2016. White on the other hand, just went missing after this album.

Don Dokken was at the peak of his powers between this period. “Back For The Attack”, “Up From The Ashes” and “Dysfunctional” are evidence of that power.

Crank em all.

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The Record Vault: Dokken – Lightning Strikes Again

It came out in 2008.

It’s not on Spotify but YouTube has various videos of the album and it is the last Dokken album I purchased.

By the time “Broken Bones” came out, I was a streamer. But I’ve always had that album, along with “Return To The East” and “The Lost Tapes” in my “saved for later” shopping cart, waiting until the price is right.

This album is also the last to feature bassist Barry Sparks and drummer Mick Brown.

Like previous records, Don Dokken had to organize various labels for a worldwide release.
Rhino for the North America market, Frontiers for Europe and King for Japan.

Production is handled by Don Dokken and Tim David-Kelly.

Standing On The Outside

A riff from “It’s Not Love” kicks off the album and I’m tapping my foot along with it.

The verses are better than the Chorus.

And the lead break from Levin is excellent.

Give Me A Reason

It starts off with clean tone arpeggios that remind me of “Walk Away”. But that was hiding the rocker to come.

Musically the song is excellent, while the melodies are stuck in the lower bass/baritone range and sound a bit monotonous.

Heart To Stone

A feel from “Into The Fire” kicks it off before it moves into a “Stop Fighting Love” vibe. It’s basically Dokken sounding like Dokken.

Jon Levin doesn’t get the respect he deserves He’s the longest serving guitarist in the band and he’s become a great co-writer with Don. Plus he respects the past.

How I Miss Your Smile

A simple repeating two chord arpeggio Intro kicks off the song and Don’s heartbreak lyrics take over.

It’s a run of the mill power ballad, but the lead break from Levin makes it worthy. He’s emotive and bluesy.

Oasis

A classic metal riff kicks off the song, straight from the grooves of the “Tooth And Nail” album.

The guitar solo reminds me of “Alone Again” and I like it.

But it suffers from a lack of dynamics vocally.

Point Of No Return

My favorite track.

The Intro reminds me of “Seven Nation Army” but once the song picks up it’s got a “Paris Is Burning” vibe.

Mick Brown and Barry Sparks lay down an energetic tempo.

Jon Levin has done a great job continuing the Dokken guitar brand in the 2000’s and he continues to shine on this track, showing his Lynch and Schenker/Jab influences.

Don Dokken is gravelly in his vocals and I like it as it works for this song.

The Chorus is anthemic and check out the lead break. It’s guitar hero worthy.

I Remember

Another ballad which could have come from Klaus Meine.

Judgement Day

Another favourite.

Levin is inspired by old Dokken.

It feels like “Cry Of The Gypsy” merged with “Lost Behind A Wall” and I like it.

And Don’s lower range singing works perfectly on this while Levin shines all over this track.

It Means

This is good and I like it when artists merge their old way with new influences from modern rock artists.

Release Me

Musically it’s modern rock, like a bit of Tool and a bit of Chevelle.

But it’s the lead break from Levin that captures my attention.

This Fire

An energetic rocker and the riffs are excellent.

Sunset Superstar

The bonus track on the Japanese edition. A speed metal cut like “Tooth And Nail”. It should have been on the album and Don’s gravelly vocals work.

If you like the 80s version of Dokken, you will like this. It’s the best album of the Jon Levin era.

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The Record Vault: Dokken – From Conception Live 1981

“From Conception: Live 1981” was released in 2007. It’s not on Spotify but YouTube has it.

Like all things Dokken, there is a lack of transparency.

The album is advertised as 1981, but the band for the recording is Don Dokken on vocals and Rhythm Guitars, George Lynch on guitars, Mick Brown on drums and Jeff Pilson on bass. But Jeff Pilson didn’t join the group until 1982. Juan Croucier from Ratt is the bass player prior to that.

Regardless of the story behind it, it’s one of Dokken’s best live albums and it is virtually ignored. Maybe because it came out in 2007 or maybe because it’s early Dokken, pre “Tooth And Nail”. I

t’s early Dokken. Even Don Dokken is playing guitar on stage and apart from rhythms, Lynch and Dokken are doing harmonies together.

Paris

It kicks off the show. The energy drips from the speakers. I feel like I’m at the show. Acts today will not know this, but back then, acts would live or die based on their live show.

Listening to “Paris” and it’s easy to hear why they got signed to Elektra Records.

Goin Down

I like the AC/DC and UFO groove.

In The Middle

The groove from the bass and drums gives Lynch and Dokken a chance to decorate and decorate they do.

Finally after three sings Don addresses the crowd and tells em to “make some noise” as they have the mobile set up outside and they are recording the show.

Young Girls

The L.A Sunset Strip riff kicks off “Young Girls”. Listen to Motley Crue and Ratt and you’ll know what I mean.

Hit And Run

It’s got a similar groove to “In The Middle”, just a bit faster. And lyrically it feels like a Saxon song about a soldier fighting.

Nightrider

The best song on the album. A speed metal song. It’s played that fast, it feels like a NWOBHM cut.

All the critics that called em a “poor man Scorpions” needs to listen to this version.

Check out the harmony guitar playing between Dokken and Lynch. I keep repeating the song just to hear it. And you’ll be surprised by Dokken’s prowess on the guitar.

And there is a sing-a-long with the audience, think “Running Free“ from “Live After Death” but this was recorded before.

GTR Solo

Then we get a 3 minutes of George Lynch shredding away.

Live To Ride

It’s fast and it gets me playing air guitar. It also reminds me of “Ace Of Spades”.

Breaking The Chains

Don mentions that the song is doing the rounds on MTV so I don’t think it’s a 1981 recording because of that.

It sounds heavy compared to the recorded version.

There’s a “thank you, good night” and the crowd screams “more” for 2 minutes

Liar

Speed metal and the lead break is electrifying.

“Beast From The East” is the Dokken live album and then there is “From Conception”.

Crank it.

And in the CD there was some promo about the upcoming new album and release of a classic VHS tape on DVD.

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1986 – Part 2.3: Van Halen – 5150

I can’t believe I haven’t written about this album yet.

“5150” achieved what “1984” couldn’t.

The Billboard Number 1 spot.

Actually all of the Sammy Hagar albums achieved what the David Lee Roth albums couldn’t.

Then again DLR needed to contend with Michael Jackson and “Thriller” and Adele with “21”.

Songs like “Why Can’t This Be Love”, “Best of Both Worlds”, “Dreams”, “Live Walks In” and “Summer Nights” take up most of the press and listens on steaming services but it’s tracks like “Good Enough” and “Get Up” which get me really interested.

Good Enough

Check out the head banging riff on “Good Enough” after Sammy screams “Hello Baby”.

It sounds like AC/DC on steroids but if you listen to the 1983 demo, it actually sounds like ZZ Top.

It was one of the first songs Sammy Hagar jammed with the band and he is at his creative best, telling us that a good looking women is like a good piece of prime grade beef.

Why Can’t This Be Love

Then they hit us with this.

Infectious and catchy. Almost funky.

Play that synth riff on guitar and it rocks your socks off.

Get Up

Speed rock. I love it.

Dreams

If the synth riff doesn’t get you singing out loud, then Sammy’s vocals would.

Summer Nights

Along with “Good Enough” this was the other song that Sammy Hagar jammed on.

It’s winter in Australia right now but this song is timeless, gets me thinking of good times. Almost nostalgic like.

Best Of Both Worlds

It’s “Highway To Hell” and I like it.

Check out the dynamics from EVH as he goes from loud to soft to loud again.

Love Walks In

It’s a great ballad. Play that riff on a guitar and you’ll hear how much it rocks.

5150

There’s a lot of guitar on this, but it’s the Chorus riff and vocal melody which hooks me.

Inside

Another funky and groovy rocker. Never played live.

Crank it and let 1986 intoxicate you.

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The Record Vault: Dokken – Hell To Pay

It probably didn’t make a big impression on me, because I forgot I had purchased it, so I purchased it again and now I have two CD’s.

The most dangerous job in the world at that point in time was the Dokken guitar player spot. After George Lynch, the band went through Reb Beach and John Norum.

For “Hell To Pay”, released in 2004, there was another newbie, Jon Levin on guitars.

Production was once again handled by Don Dokken.

The Last Goodbye

The song is written by Don Dokken, Mick Brown and Jon Levin, who quickly announces himself with a bone crunching riff inspired by “Kashmir” over a rock steady groove by Brown.

Dokken has been dabbling with exotic sounds on previous albums and that spirit has carried through on this.

Make sure you check out the lead break from Levin.

Don’t Bring Me Down

Written by Dokken, Barry Sparks and Levin.

It’s fast.

This is Levin’s statement.

That lead break.

Wow. Just listen to it.

And he did something on that lead break, not heard on a Dokken album, a harmony solo.

Escape

Another Dokken, Brown and Levin cut.

This one is like a dark rock song, almost alternative but still delivered with hooks from the 80s, something they copped shit for, but to me that’s what’s special about the album. Sounding current and modern with a sense of pop melody in the vocals.

Haunted

Another Dokken, Brown and Levin cut and one of my favourite Dokken cuts from this version of the band.

Levin goes a bit high octane bluesy in the lead break and I like it.

Prozac Nation

It’s written by Kelly Keeling, Dokken and Levin.

A familiar riff and vocal melody rule this song.

Levin goes all chromatic for his brief solo spot light.

Care For You

Written by Dokken and Keeling.

Yeah I didn’t care much about this song and I was disappointed when the bonus track was this song in an “unplugged” setting.

Better Off Before

Another Dokken, Brown and Levin cut.

A groove metal riff kicks it off, very Disturbed like.

Dokken is bringing his sense of melody to it and the 2004 version of the band is definitely rocking.

Still I’m Sad

No relation to the Rainbow song.

It’s a cut penned by Don.

It’s got groove and I like it’s three distinct parts, the clean tone verses, the distorted melodic pre chorus and the anthemic Chorus.

I Surrender

Again, no relation to the Rainbow song.

This one is also a penned by Don. It percolates with a hooky riff as Don builds it vocally.

The Chorus riff reminds me of “Unchain The Night” and I like it.

Levin is also channeling Neal Schon on the lead break.

Letter From Home

Written by Keeling, Levin and Dokken.

The band is channeling The Beatles and Led Zeppelin on this one.

The lead break from Levin is excellent. Very Jimmy Page like.

Can You See

A Dokken and Levin cut. it’s got that Dokken 80s spirit from “The Hunter” but Don’s voice is low, almost monotone like which was slowly becoming his style.

And Levin brings it again for the lead break.

If this is your first Dokken experience, there is enough here to get you interested to hear more.

If you grew up with Dokken in the 80s then this is a good listen.

C

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Australian Method Series: AC/DC – Highway to Hell

Who would have thought that six months after the album release date, Bon Scott would be dead. There is no denying what a massive force he was in the band and since his departure, AC/DC got stuck in recreating the formula that Bon’s intensity brought to the band.

While Bon wrote about sex, parties and relationships, he was also very conscious of what was happening in society and how society was structured and the power struggle between the haves and have nots. AC/DC post Bon, eventually just wrote songs which had knees rhyming with please.

Eddie Kramer was brought in by the label to produce. Malcolm was less than pleased because it meant older brother George, was no longer involved. But the the pressure was on and the band was not delivering what the label wanted.

Malcolm and the bands new manager Peter Mensch then fired Kramer and hired Robert ‘Mutt’ Lange, who wielded his iron fist straight away and made the band work hard for three months. He even made Bon take vocal lessons.

And it was the start of the holy trinity of albums.

I never purchased this album until the early 2000’s. I just went over to a friends place with a bunch of blank cassettes and I taped every album he had, while we drank beers.

“Highway To Hell”

“Highway To Hell” is a rite of passage. It might have been about touring, however timeless songs have lyrics that can be interpreted in many different ways. The riff to kick it off is iconic. Credit Malcolm.

Livin’ easy, Livin’ free

Those words are exactly how we want to live life. Easy living. Free living. But it isn’t so. Nothing is free in life and nothing is easy. The people born between 1948 and 1962 inherited a rich country and bankrupted it. They first got into government by the early 80’s and by the mid 90’s they were all in positions to make decisions.

They passed laws and regulations to benefit their bank accounts and the bank accounts of their sponsors. If they did something wrong, the taxpayer would bail them out.

And in these pandemic times, living easy and living free is impossible. Free democratic countries are passing laws to enforce lockdowns that dictatorships don’t even have.

I’m on the highway to hell
On the highway to hell

The Satanic panic begins. If this was played backwards, the subliminal message would say, “lleh ot yawhgih eht no”.

It’s so dangerous.

No stop signs
Speed limit
Nobody’s gonna slow me down

Nobody does this anymore. I tell my kids they go to school to learn, not to get a job. But people I speak to always tell me that schools are there for people to get a job. You see, money is more important than developing yourself and experiencing life. You should be free to spread your wings.

Payin’ my dues
Playin’ in a rockin’ band
Hey, mamma
Look at me
I’m on the way to the promised land

It’s why music was great. People paid their dues. It didn’t mean they would make it, or be global superstars. Hell, it didn’t mean they would make a living wage. But they could have. Bon’s lyrics are a lifestyle and six months later, Bon Scott, would be on his way to the promised land.

“Girls Got Rhythm”

If the intro riff doesn’t get you moving, check for a pulse.

I been around the world
I’ve seen a million girls
Ain’t one of them got
What my lady she got

Only Bon could get away with confessing his cheating ways to his real love back in Oz via a song and still be in a relationship.

Love me till I’m legless
Achin’ and sore

Is this even possible anymore?

Everyone is too busy parading on social media, joining movements of empowerment. There is no time for loving until the morning light, unless your on a Netflix TV series.

“Walk All Over You”

After the slow dirge Intro, a riff kicks in that The Romantics would use for “What I Like About You”.

“Touch Too Much”

How good is the Intro?

Seems like a touch, a touch too much
Too much for my body
Too much for my brain

Only Bon can put his bedroom ways into a song like this. In this case, the woman is just too much for him. He can’t handle her.

“Beating Around The Bush“

It’s the usual fast blues from “Let There Be Rock” which was inspired by the Peter Green Fleetwood Mac version. Check out the song “Oh Well”.

“Shot Down In Flames”

A few chords over a standard drum and bass canvas. It’s the AC/DC way.

“Get It Hot”

It’s like “Rock N Roll Ain’t Noise Pollution” merged with Chuck Berry.

“If You Want Blood (You’ve Got It)”

The Intro gets me playing air guitar. And the drum build, so simple and so sublime.

It’s animal
Livin’ in the human zoo
Animal
The shit that they toss to you
Feelin’ like a Christian
Locked in a cage
Thrown to the lions
On the second page

Quick, call in the political correct activists.

Life is like living in a cage that you pay for, your whole life and you never really own it.

The crap they toss at us, is the wage we get for building someone else’s dream and we have three options, leave and try to build our dreams, stay and work on the side to build our dreams or just stay and be a slave. Because the system is designed to benefit the companies. If you don’t have a weekly wage, you cannot get a loan.

“Love Hungry Man”

It’s funky for an AC/DC song which Angus Young called as the worst AC/DC song ever.

“Night Prowler”

While this song would become popular for all the wrong reasons, in its essence it’s a slow blues dirge and a favorite.

5x platinum in Australia, 7x platinum in the U.S and various other certifications around the world is proof of its longevity.

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The Record Vault: Dokken – Long Way Home

Nothing is easy when it comes to Dokken.

At the peak of making it from a B level act to an A level act in the late 80’s, they broke up. Then they realised that they are better together than apart, so in the mid 90’s they gave us one of their best records in “Dysfunctional” and one of their worst in “Shadowlife”. Lynch was subsequently booted or he left, depending on whose story you believe, and Reb Beach was hired to “Erase The Slate” and kick start a new era for Dokken in 1999.

But that version of the band didn’t last long. Beach was out and Pilson went to court against Don Dokken over his actual departure and the dissolution of the partnership band agreement. Dictator Don was finally in full control of his name.

In 2002, “Long Way Home” was released. It is the only Dokken album to feature Europe guitarist John Norum, who also worked with Don on his solo project “Up From The Ashes” and the first to feature bassist Barry Sparks who had done time with Michael Schenker, UFO and Yngwie Malmsteen. This album also started a “sort of” trend on using song titles from earlier albums as album titles on future releases.

Production duties on the album were handled by Don Dokken.

“Sunless Days”

Looking at the credits, its written by Don Dokken, John Norum and Kelly Keeling.

Keeling had previously done work with Norum on one of his albums and was enlisted here to help write the album and do some vocal production duties. Also if you are a fan of Blue Murder, Keeling spent over 2 years with John Sykes on the “Nothing But Trouble” album, only to leave the band or be fired, on the day of the shoot for the “We All Fall Down” video.

A foot stomping riff, similar to “Change The World” from the “Erase The Slate” album kicks off this song. It’s a riff that Norum would tweak and use in “Start From The Dark” from Europe.

And this is the first album, when Don decided to keep his voice in the bass/lower baritone range.

“Little Girl”

Written by Dokken, Keeling and Mick Brown. Dokken was fascinated by adding sounds which I call, “The Beatles” sounds or the “Led Zep” sounds. This song is evidence of that fascination.

“Everybody Needs (To Be with Someone)”

A cut written by Dokken and Brown.

It has a vocal melody that is inspired by “Action” from Sweet. Instead of singing “everybody needs a piece of the action”, you just sing, “everybody needs to be with someone”.

“You”

Written by Dokken, Norum and Keeling, the heavy groove gets me interested.

“Goodbye My Friend”

A cut written by Don. It’s just an acoustic guitar and an excellent piano riff which sticks around after the song is finished because it mimics the vocal melody on occasion’s.

If anything, Don sounds very Eric Clapton’ish, like the Unplugged Clapton.

“Magic Road”

A Dokken and Norum cut.

One of my favourites.

Musically, Norum brings his love of 70’s classic rock to the song with his bluesy riffs. Something which he would also do with Europe, especially on the “War Of Kings” album.

“There Was a Time”

Its written by Dokken and Keeling. Another song with a strummed acoustic guitar, a simple drum beat and an catchy vocal melody.

“Heart Full of Soul”

An excellent cover from The Yardbirds.

“Under the Gun”

Written by Dokken, Norum and Keeling it’s a classic Dokken cut, with a feel and tempo like “Lightning Strikes Again”. Another favorite.

“I’ve Found”

Written by Dokken and Keeling. It’s another great track, just acoustic guitars and Beatles like vocal melodies.

If there is a fault on this album, it is the lack of opportunities Norum has to fly, because like most albums in the early 2000’s it suffered from a lack of lead guitar.

But it’s still a good listen and tracks like “Sunless Days” and “Under The Gun” could be in a best of set list.

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1986 – Part 2.2: Judas Priest – Turbo

This is the 30 Year Anniversary cover.

I was probably too young or too dumb to understand why the writers of the music mags kept trashing the sound of this album as “lite Rock”.

To me, it was and still is a hard rock album and my fandom with Judas Priest started with this album, “Ram It Down” and “Painkiller”. Then I went back into the catalogue.

If anything, the addition of synths to their sound, was no different to ZZ Top’s and my fandom with them also started with “Eliminator”.

From a production point of view, Tom Allom is still in the producer chair.

Turbo Lover

The simplicity of Ian Hill on bass and Dave Holland on drums just playing a stock standard beat, sets a canvas for creativity. And that’s exactly what Glen Tipton, KK Downing and Rob Halford do. They decorate each section so it sounds unique, while Hill and Holland stay the same.

Tipton’s lead break is also worthy. It’s got enough moments to sing a long with it and he shreds enough to show his prowess, all without overplaying. Which is a very subjective term these days. My view on overplaying is different to others.

Then after the solo, the verse riff and vocal melody remind me of “The Sentinel”. But back then it didn’t.

Locked In

Covering “Johnny B Goode” rubbed off on the songwriting.

Make sure you check out the arpeggio solo towards the end of the whole lead break from Tipton.

Private Property

“Turbo Lover” part two. Or a track from ZZ Top’s “Eliminator”.

The bass and drums set the foundation and the others do the creativity with riffs, melodic fills, leads and vocal melodies.

Parental Guidance

Tipton always kept his finger on what was happening in the guitar scene. Check out some of his leads on the albums which came after incorporating “sweep picking”.

On this one, it’s very major key and EVH had a knack for making major chord progressions sound heavy in the way EVH palm mutes the arpeggios. Tipton does the same here.

Rock You All Around The World

The Intro riff is excellent.

Lyrically these kind of themes of “heavy metal music cranked louder and voices showing power” started to became cliched, but living through the era, i lived it.

Check out Tipton’s solo on this.

Out In The Cold

A hidden gem.

The synth Intro makes it sound ancient, like “Gates of Babylon” ancient.

Then the band crashes in and I swear I’m listening to “Dream Warriors” in the verses. But “Dream Warriors” came after. Regardless, I’m all in.

Check out that Aerosmith “Kings And Queens” feel just before the solo.

Wild Nights, Hot And Crazy Days

They tried to rewrite “Living After Midnight” musically.

But the star of the song is the AC/DC vocal melody from Halford.

Hot For Love

The first 30 seconds.

How good are the riffs?

And the Pre Chorus is more anthemic than the Chorus.

Check out Downing’s lead break and they then go into an excellent harmony section.

Reckless

One of my favorite cuts. The whole melodic rock movement is here.

The Intro harmony leads remind me of “Rock You Like A Hurricane”.

The verse melodies from Halford are excellent.

Look out
I’m blastin’ through the lines
Alive and kickin’
Watch out
I’m young and lethal
I’m goin’ from here until eternity

It resonated with me. Growing up in a steel city, all that was expected of me and others, was to grow up and work in the steelworks.

And songs like these allowed us to dream.

Make sure you check out the lead breaks, especially the outro leads from KK Downing.

And based on the momentum the band built over the last six years, the album quickly went to Platinum in the U.S. and Halford showed all the singers who the Boss is when it comes to performing live.

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A to Z of Making It, Classic Songs to Be Discovered, Derivative Works, Influenced, Music, My Stories, Unsung Heroes

The Record Vault: Dokken – Erase The Slate

Released in 1999.

The saboteur known as George Lynch was out, clearly because he was smoking something very different musically, because if you hear his attempt at a Lynch Mob record in the same year, called “Smoke This” it was clear he was not thinking clearly.

And sadly, it is the only Dokken studio album to feature Reb Beach, Lynch’s replacement and the last one to feature long time bassist Jeff Pilson. In other words, Dictator Don was taking control of the empire that carries his surname. Pilson even took Don to court over it.

In the same way that “Shadowlife” had all songs written by the band members, “Erase The Slate” has the same listing. Production is also carried out by the band members.

For Dokken to release this album in the major markets, they needed to have three labels in place. CMC International did the North American market, SPV/Steamhammer did the European market and Mercury did the Japanese market.

Compare that to today,

Record it and release it to streaming services within a week. There are no gatekeepers.

“Erase the Slate”

It’s fast, on par with “Tooth And Nail” and “Kiss Of Death” for great album openers.

Make sure you check out the lead break from Reb Beach.

“Change the World”

Another head banging riff to start the song.

The verses sound like “Empire” from Queensryche, as the bass and drums groove, while a clean tone guitar plays arpeggios, before it cranks in with a distorted riff. Think “Jet City Woman”.

“Maddest Hatter”

Stupid lyrics from Don, but then again, he’s never been known as a great lyricist. Musically, the song is excellent, full of great riffs and leads.

“Drown”

The doom and gloom does remind me of Alice In Chains musically, but the vocal melodies are straight from the 80’s hard rock scene.

“Shattered”

A great song. The riffs, the vocal melodies and the powerhouse drumming all connect. At first it reminded me of Lynch Mob, then Winger, then EVH, then Metallica. There is a lot happening.

“One”

A bad idea to cover Harry Nilsson. Then again, they had no management and had total control of their independence, so no one was there to question things.

“Who Believes”

Oasis brought back The Beatles in a big way and suddenly bands in the 90’s incorporated the Oasis/Beatles feel.

Make sure you check the solo out.

“Voice of the Soul”

The riff is excellent. Credit to Mr Pilson for it. And the chorus is addictive. Overall, the song reminds me of “Streets” and “Gutter Ballet” Savatage.

“Crazy Mary Goes Round”

These kind of lyrics in 1999 did nothing for me. Regardless Mick Brown takes the lead vocals here. Musically, it sounds like a Van Halen cut in the intro, with a late 60’s blues/rockabilly feel in the verses. If John Kalodner was in charge of the track list, this song wouldn’t make it.

“Haunted Lullaby”

Reb Beach plagiarises his Winger days and “It’s Not Love” for the riffs and I like it.

And Wild Mick Brown brings the power on this one.

Make sure you check out the head banging riff before the solo and then the solo itself. Afterwards hail at the altar of Mr Beach.

“In Your Honor”

An acoustic track, a ballad which follows that Oasis/The Beatles vibe.

The Japanese version has two bonus tracks in “Upon Your Lips” and “Sign of the Times”.

“Upon Your Lips”

It has this “Lights Out” from UFO feel. Make sure you check out the lead break.

“Sign Of The Times”

It’s like a ballad and it should not have been left off the main album. “In Your Honor” and “Who Believes” are very similar and one should have made way for this.

Dokken’s tour in support of the album was recorded and released in 2000 as “Live From The Sun”. I don’t have this album, but will review it as Beach does play a few Lynch tunes on it.

The next studio album “Long Way Home”, released in 2002, featured former Europe guitarist John Norum.

And here are some final words from Jeff Pilson.

“If there’s one record for me with DOKKEN, it would be the ‘Tooth And Nail’ [1984] record, just because we were still very hungry.

We did a record in 1999 called ‘Erase The Slate’ that I was actually very, very proud of, with Reb Beach on guitar. A fabulous record.

Then there was a DIO record that I did called ‘Strange Highways’ [1993] that I still think was just a hugely underrated record, because when it came out, people were expecting a more traditional DIO record, and I think over time, people have come to appreciate it more.”
Jeff Pilson

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Music, My Stories

The Record Vault: Dokken – Shadowlife

I was excited when I purchased this. A new Dokken album in 1997 with all the original members still on board. Who would have thought they survived the “Dysfunctional” album and tour?

“Dysfunctional” was an excellent return a few years before, and this album would put Dokken back onto the path of greatness. Just by looking at the song titles, my interest skyrocketed.

But.

I looked at the label logo and it wasn’t Columbia. John Kalodner had dropped the band. Instead, it was CMC.

CMC was a label that was signing hard rock and metal bands dropped from major labels. And they then tried to make these bands not sound like themselves by making em work with modern hip producers.

I pressed play.

I listened. I skipped tracks.

I got to the end.

I went and made a coffee.

I came back to the stereo.

I pressed play.

I listened more attentively.

I looked at the CD booklet, the lyrics, the production notes, the thank you.

I still skipped tracks.

I made another coffee.

I pressed play.

I tried to focus on what I would like. Like the guitar riffs.

“Puppet On A String”

The verse riff from Lynch is very Tool/Alice In Chains like with little hard rock fills here and there and I like it. But lyrically and vocally it’s uninspired.

“Cracks In The Ground”

It sounds like it could have come from the “Dysfunctional” album. It’s got that psychedelic Beatles like feel which they used in “The Maze”.

“Sky Beneath My Feet”

Listen to the Led Zep “Kashmir” influenced riffs in the verses. Or a song from The Cult’s “Sonic Temple” comes to mind. Regardless there are some cool musical moments here.

“Until I Know”

Feedback noise, a drum and bass groove and then lush acoustic strummed guitars come in.

Musically, the song is good, but like the previous songs, they all suffer from forgettable vocal melodies. Dio was also suffering the same pain with his “Angry Machines” album and many other acts during this time didn’t know what kind of melodies to write.

I always liked it when artists stuck to the hard rock vocal melodies and intertwine them with the more current sounding music.

Wild Mick doing his bit for the Cancer Council.

“Hello”

This one is a good example of sticking with hard rock vocal melodies and intertwining them with the industrial sounding music. But then, they put a loudspeaker effect on Don’s voice and it all goes to hell.

They should have kept him in clean tone.

“Convenience Store Messiah”

A forgettable acoustic track.

“I Feel”

It sounds like a D grade Collective Soul cut, musically.

“Here I Stand”

The intro riff is classic Dokken and lead vocals are performed by Jeff Pilson who was already involved on a confusing album with Dio on “Angry Machines”.

“Hard To Believe”

It’s a ballad and Lynch tries really hard to not play anything clichéd. His chord selections and voicings are so far removed from his well-known power chord to devils tritone.

It really is hard to believe that this is Dokken.

“Sweet Life”

It’s got a blues rock swinging groove.

Make sure you check out the riff after the Chorus.

Then the middle section feels like a Wild West stand-off is taking place musically before it moves back to the blues rock swinging groove.

And the song ends just after 4 minutes with no guitar solo.

From the double CD One Live Night and Shadowlife

“Bitter Regret”

The acoustic riff is worthy of attention.

“I Don’t Mind”

I still skip it.

Also from the double CD

“Until I Know (Slight Return)”

It’s an instrumental blues jam and I like it. But its short and maybe it should have stayed with the original track instead of separating the two parts.

Overall there wasn’t enough quality here, nor was there a killer song to sell it and as a fan of George Lynch, it’s a shame that this is his last full studio album with the band.

Throughout the album, I was saying, “are these the same members that delivered songs like “Kiss Of Death”, “Prisoner”, “Too High To Fly”, “In My Dreams”, “Lightning Strikes Again” and etc.

It is Dokken’s worst album by far, but then again, experimental albums rarely set the world on fire. Queen seemed to have a knack at being successful with it, because they always had a song on the album which was catchy and would become a hit or a fan favourite.

And some quotes from the members.

“Well, the change in sound was due to the fact that the world had changed so much and it was us trying to adapt.

We had been listening to a lot of TOOL records at that point. Plus the producer, Kelly Gray, was very much from the whole Seattle world — not into the melodic rock world, really.

So how I look back on that record is that there were some nice moments, but overall, just not an inspired piece of work.”
Jeff Pilson

“I was very disappointed with “Shadowlife”. When we went into “Shadowlife”, George was into Monster Magnet, Tool and stuff like that. I listened to the songs he had written and I’m like, “George, we’re not Tool! We’re not detuned! We’re not Monster Magnet, I just don’t get it!”

I hated that album so much that I didn’t allow them to put my Dokken logo on that record. That’s the only Dokken record where there’s not a Dokken logo on it. It’s just has a typical font.

To put it into perspective, ‘Dysfunctional’ sold 450,000 copies after it’s cycle, when we released ‘Shadowlife’ it sold 50,000 copies.”
Don Dokken

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