Music Review: DANIEL BAND – Running Out Of Time

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daniel band - running out of timeDANIEL BAND
Running Out Of Time
Refuge Records

The Daniel Band’s fifth and final studio release before going on what they called an “indefinite hiatus” (meaning they didn’t technically break up as a band, and while they’ve reunited a handful of times for one-off shows from time to time, for all intents and purposes the band was put on the back-burner while everyone lived their lives), Running Out Of Time is the album that I’ve heard others refer to as not their best. And certainly the 80s collage style cover art didn’t help much for first impressions. But, being of the type to have to hear it before forming an opinion on an album, I gave it a good listen. Is Running Out Of Time a weak album? Or does it hold up?

The album starts off rather well, with the nice, heavy guitar-driven anthem “Black Or White”. It’s a fist-pumper, for sure. This is followed by a pretty good, solid mid-paced hard rock cut, “Sins Of The Heart”, which reminds me of Dokken in their prime, heavy and melodic. Following this, though, we get a couple of breaks in the momentum–“Hold On”, which is a synth-heavy commercial rock cut that does have a decent hook and a good guitar solo, and “Long Time” which is a power ballad, but not the sappy kind. It’s dark, with a heavy riff in the bridge. We venture once again into a tasty heavy blues rock cut with the hilariously titled “Party In Heaven” (the title of which seems to trigger aneurysms in a lot of the anti-Christian Rock articles I come across online), which is followed by another nice heavy rocker “We Need Love”, and the galloping riff-heavy “Greedy Little Hands” giving us a one-two-three punch of heavier rock, before moving into a more commercial and bright “Things Are Changin'”. The album ends on the title track, “Running Out Of Time”, which is a heavy, dark mid-paced rocker, with a great guitar riff and leads.

So, overall, after listening to the entirety of Running Out Of Time, I’m wondering again why this one is considered a weak album. Maybe in comparison to the previous Daniel Band releases, I can see the argument. If you’ve just come off of listening to, say, Rise Up or Run From The Darkness before popping this on, Running Out Of Time may come off as a bit more commercial sounding to your hard rockin’ tastes. And the original production work certainly doesn’t help matters very much, I do admit. However, when comparing this to other commercial CCM Rock records, or even mainstream commercial rock at the time, Running Out Of Time has an edge over the others. Also, Retroactive Records did a good job remixing the production with their 2012 reissue. The only real complaint I have with Running Out Of Time is the cover art. It’s more New Wave pop than what’s represented on this album. But, again, very minor quibble. Gonna have to go with recommended on this one as well.


Music Review: DUAL EDGE – Knock ‘Em Alive

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dual edge - knock 'em aliveDUAL EDGE
Knock ‘Em Alive
Intense Records

Behold, the very first band signed to and album released on the legendary Intense Records label. And this was a time before Intense was owned by the Frontline Music Group. And, that’s about the only reason why I’ve held on to this particular release, simply for historical significance. But, I’m getting ahead of myself, here…

Dual Edge was a melodic hard rock/metal band that hailed from Minneapolis, Minnesota in the mid-1980s. Their one release on the Intense label, Knock ‘Em Alive, was essentially a remixed version of their demo tape, with one song replaced by another–“Open Your Eyes” with “Follow Your Dreams”, if memory serves correct. Knock ‘Em Alive remains Dual Edge’s only release, and, to my knowledge, hasn’t been officially released on CD. My copy was a used vinyl release found at a dark underground used record shop in the Old Market in Omaha.

Getting past the album cover–which is, admittedly, in keeping with the time in which this was released–the music on Knock ‘Em Alive is, at best, the higher end of mediocre. The main high point of the music on here is the guitarist, who nails some very good riffs and solos on the songs. The standout cuts on here are “New Life” and the title track “Knock ‘Em Alive”, both of which are proof that the band had the potential to really become something big had they stuck with it and polished their collective skills. “Fight For The Light” gets an honorable mention, as the song has a bit more driving bluesy riff going. The visuals are decent, they’re the melodic singing type typical of the style of rock they’re doing, kind of reminding me of Tempest-era Jamie Rowe.

The main downfall to Knock ‘Em Alive are the rest of the songs. Production quality aside, it’s rather evident that Dual Edge was very early in their songwriting skills. They’re formulaic and lack any real personality. There were the standout stuff that was mentioned previously, yes, but even then they struggled to get remembered long after the end of the album. I do think this has to do with the label being content to just releasing their demo, and not giving them some time to give them the proper spit-and-polish with a good producer. Which, again, could have given them a shot at Fire & Love-era Guardian levels of quality. Unfortunately, we will never know what may have been, as they never did release another album after that, and disappeared into the ether not too long thereafter.

Overall, outside of the historical significance of this being the very first Intense Records release, Knock ‘Em Alive is mostly forgettable melodic hard rock. I’m not clamoring for a re-release any time soon, here.

Music Review: DANIEL BAND – Rise Up

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daniel band rise upDANIEL BAND
Rise Up
Refuge Records

So far, the Daniel Band has been pretty consistent with the rocking of our faces off, giving us some pretty good solid releases with some fantastic riffs and cuts going on. It’s been a pleasant surprise going through their back catalog. How do they fare with their fourth album, Rise Up? Let’s find out.

The album starts off by immediately giving you whiplash with the hard and heavy “Bethel”, which is pretty metal, and is a great way to kick things off, methinks. Can they keep up the momentum, though? Well, the next cut after this is “Rise Up”, which is the second Daniel Band song that I heard on a compilation years before I began actively checking the band out. This is another radio-friendly rock cut, a bit more anthemic, decent riff and all. Still, I wasn’t impressed enough to listen to more at the time. And following the bombast of the opening song, this maybe takes the winds out of the sails a bit too soon. Not a bad song, mind, just maybe should have positioned it somewhere in the middle of the album, title track or no.

We get back on track with “Don’t Walk Away”, a nice heavy mid-paced cut that begs to be cranked up. “Paradise” is a melancholy sounding power ballad, and…yeah, I rather like this. It’s very much in keeping with the time of the release, with the kind of power balladeering the contemporary rock bands were doing on the radio. “Fight Back” made me think immediately of fellow Canadian rocker Aldo Nova, what with the keyboard riff on this cut. Not bad at all. “Call His Name” is another great hard rocking anthem, heavy and made me think of W.A.S.P., believe it or not, and the momentum is kept going with the appropriately titled “Rock You”, a thick n’ meaty hard rock anthem that, again, begs to be cranked in the car stereo whilst driving. After this, though, we get “My Children”, another power ballad that starts off in tricking you into thinking this is one of those sappy types that goes for the feels, but right when you’re beginning to reach for the barf bag, in comes the power chord, and things get marginally better. The final cut on the album, “Right Heart”, ends things with another mid-paced radio-friendly rock song. Given the fact that Daniel Band has demonstrated the ability to rock hard with some of the greats, this last song kind of give you a “meh” shrug.

So, overall, I would say that Rise Up is a good album, leaning towards very good. It’s got a very decent amount of hard rockers I’ve come to love from the band, along with a couple of radio friendly rockers and a couple of power ballads that, while they’re far better than a lot of general CCM balladeering that was being released at the time, are still ballads. If that’s your thing, great; I just tend to lead more toward the heavier stuff on the album. Very much worth checking out.

Music Review: SHADOW WINGS – Carry On

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Shadow Wings - Carry OnSHADOW WINGS
Carry On
Regency Records

Much of my extended exposure to the whole Christian metal and rock cultures really happened when I was first in college back in 1993. It was a brighter, much more innocent time, when I was still experiencing the great afterglow of embracing my faith, and before the first in a long series of existential quandaries began testing said faith since. I really dove into the whole exploring what was out there as far as music goes, and made friends that were rather happy to oblige my search, no matter what the quality turned out to be. Hence my taste for more obscure fare, like this release from a band called Shadow Wings.

Never heard of Shadow Wings? Don’t feel too bad. Even now, with the great search too that is the internet, there is very little I could scrape up about the band. What I do know is that there are three out of the four members that share the last name of Hillstrom, one of which has the title of “Reverend”. All siblings? Husband, wife, and brother-in-law? I don’t know. Again, I can’t find anything more on these guys. I’m sure there’s someone out there that can help expound on things a bit. But, in the meantime…

As far as releases, they did record a couple of full-length demos before recording and releasing the subject of this review, Carry On, on the Regency Records label in 1991.

The first thing I wish to point out is the cover art which to me looks like it belongs more on a children’s book about the post-apocalypse. Or a Roald Dahl book. Whimsically dark. Still better than your standard CCM covers at the time, I suppose.

Moving on to the music, now (which is the main point of these reviews), after giving Carry On a good proper front-to-back listen…I have to admit that the band is actually a lot better than I really expected. How to describe their sound, let’s see…I would say that, judging by the basic Evangelical style lyrics, they maybe were trying to go for more of a commercial sounding rock style, like that of later DeGarmo & Key or Petra, but forgot to be lame and ended up being more Barnabas and Daniel Band. This is not a bad thing at all. All of the songs have a great guitar-driven riff and hook, and you get the sense that the guitarist is actually restraining himself from just out and out shredding on these; especially on the song “No Condemnation”, where the riff turns into a misplaced metal riff near the end of the song, possibly to offset the constipated sounding vocals the guy was doing in a failed attempt to sound tough or something.

Speaking of the vocals, they’re handled by both male and female vocals, trading off from song to song. And of the two, I lean towards the female vocals, as they have a genuine rough bite to them, like that of Pat Benatar or Joan Jett back in their prime. Really, they should have just let her sing on all of the songs. Regardless, though, I am impressed that, as I mentioned earlier, all of the songs do, indeed, rock, even though there were instances of attempts for that radio-friendly commercial sound for possible CCM radio play. Even then, the guitar riff still had that raw power edge that you didn’t hear on that kind of radio format. There’s a cover of the aforementioned Pat Benatar’s “Hell Is For Children” that is decent, but lacks the push over the edge that the original has (still prefer the Viking cover). And the closest thing to a “ballad” that the album has is the closer “Wake Up”, which is really more melancholy, and builds to a heavier sound as the song progresses to the end.

Overall, I have to admit that Carry On was more impressive than I thought I was going to give it credit for. The songs showed promise, with some inspired guitar work, some surprisingly heavier compositions than the standard youth group style lyrics were paired with, and had they kept going I have no doubt they would have found their stride sooner or later, with a bit of spit-and-polish. And also letting the lady sing full-time as well. But alas, we shall never know what could have been. Possibly for the better, as this wasn’t the mid-80s when this was released. In any case. a rare gem that’s worth checking out if you can find it.

Muisc Review: DANIEL BAND – Straight Ahead

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daniel band - straight aheadDANIEL BAND
Straight Ahead
Refuge Records

Daniel Band’s second full-length release, and despite the minimalist cover art that misleads you into thinking this is 80s Pop, Straight Ahead manages to be much heavier in the hard rock department than their debut was. Of course, this is a good thing. A very, very good thing.

Being released in the year 1983, I can imagine Straight Ahead was probably the heaviest thing anyone had heard in the CCM market at the time. Because this album is chock full of the great guitar-driven and hook-laden classic hard rock that, on this release, sometimes veered into metal territory, like on “Reality”, where the main riff takes on almost an Iron Maiden quality to it.

The song that I first heard from Daniel Band, “All I Need”, is on this album. It was on a compilation release, and while it’s a good song, it isn’t a good first impression on how good this band is. “All I Need” is a Rush-style commercial rock song; well-done, yes, but again, it didn’t really impress me when I first heard it, and it consequently took a long time thereafter to even look into their music after that. All the pity, as most of the rest of the songs on here, like “Power Of Love”, the title track “Straight Ahead”, “Here I Am”, “Lustful Illusions”, “Come Into My Life” and “Comin’ Home” all have that classic guitar-driven hard rock goodness that I grew up with and love. There were a couple of miss tracks here, though: “T’ank You”, which is an MOR type song that has a calypso beat and at one point utilizes a faux-Jamaican accent, and the album ender “In My Mind” is an acoustic ballad, complete with swirling strings.

So, overall, I would say that, while it’s not a completely solid, back-to-back hard rocker, Straight Ahead does rock harder and far more consistently than their debut release. This was re-released by Retroactive Records back in 2006 with a couple of demo songs from 1980; I don’t know how available a physical copy is, but if you don’t mind an MP3 download, it is available for purchase on Amazon. Highly recommended that you check this classic bit of Christian rock history out.

Uncle NecRo Listens To: LOOK WHAT THE CAT DRAGGED IN (Poison)

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So, here’s the first in what should be a new series of articles that will be called, for lack of a better one, “Uncle NecRo Listens To…” This has been percolating in my brain matter for quite some time; where I go through the albums I once owned and listened to back in the day, and see if they still hold up.

There are some basic rules I’ve made for this series: 1) they must be albums that I’ve actually owned, and 2) the years involved would be between when I was in grade school and began listening and collecting albums, through to the end of High School. Also, these won’t be in order of when I owned them, just as they come to mind. As such, let’s get started with this first one, shall we?

poison look what the cat dragged in

The Band: POISON
The Album: Look What The Cat Dragged In
My History: This debut release from the band Poison came out in my Seventh Grade year, in 1986. I remember coming across the album at department stores, and thinking, “wow, those chicks are hot.” Which was immediately followed by a bit of confusion while reading the band member roster, because I was 12 and living in rural Eastern Nebraska in the mid-1980s. I’ve never heard of the term “glam metal” before, let alone come across anything like this before. Anyway, while several in my class had this album, it wasn’t until the summer of 1988 when I finally acquired my own copy.

It’s been literally decades since I’ve listened to this one front-to-back. Let’s see how this holds up, shall we?

Track One: “Cry Tough”
Nice opening rhythm, seems to build up to something awesome…then the power chord…seems to miss something to really push this over the edge as a lead-in song, though. Not a bad introduction, though…

Track Two: “I Want Action”
Now, this is more like it, heavy crunchy guitar and a fun rhythm. Typical “skin” song…the part where Bret sings “If I can’t have her, I’ll take her and make her” seems rather disturbing, there. And that bridge, yeesh.

Track Three: “I Won’t Forget You”
In the mid-1990s, I had a roommate who was a pretty accomplished guitar player in his spare time. He was obsessed with getting this song right, and was demonstrating how the lead was played. That was impressive, yes. That said, this is your typical unremarkable power ballad that only is marginally better than the other power ballad that Poison is known for (you know the one) if only for the fact that it isn’t as overplayed and over-saturated on rock radio stations everywhere. PASS.

Track Four: “Play Dirty”
Good riff, nice n’ heavy. “Act tough”…huh. Got’cha, Bret. Anyway, good basic hard rock tune. You get the sense, though, that the lyrics were written by someone who has never been in a bar altercation, but imagines this is what it would be like. Like they watched Roadhouse and wrote a song about it. Wait, checking to see when Roadhouse came out…never mind, it was released three years after this album.

Track Five: “Look What The Cat Dragged In”
Title track. Rather good guitar riff hook, there. Bit grittier, going for less sparkly and more sleaze. Nifty ode to 1980s Sunset Strip hedonism. Yawn. And did Bret just purr in the microphone? I believe he did. Gads. Right after boasting of his sexual prowess. Stay classy, there.

Track Six: “Talk Dirty To Me”
Full disclosure: I owned the 45 single of this song. It’s a great rock guitar riff, one of the first actual riffs I learned to play on the guitar. Surprisingly easy, once you see how it’s done. Anyway, groan-worthy juvenile lyrics aside, one of my favorite guilty pleasures.

Track Seven: “Want Some, Need Some”
Yeah, okay, great opening hook and riff, here. Good crunch, I have to admit. Again, with the whole longing for a lover of nondescript. Still, way more substance than your average Limp Bizquick song. Interesting chime ending.

Track Eight: “Blame It On You”
Again, a pretty good boogie rock tune…immediately given the eeew factor with lyrics that seemed to have been written by a horny middle school boy. Though, your average rock song normally doesn’t use the words “pizazz” and “razzmatazz”…

Track Nine: “#1 Bad Boy”
Look, the 80s were a weird time. It was a time when heterosexual men put on makeup, hairspray and adorned themselves with the finest Cosmo looks, and still were considered the pinnacle of masculinity by women. That’s why Poison could get away with writing a song about being “bad boys” without batting a heavily mascaraed eyelash. Also, this song is, musically, rather heavy and rocks my face off.

Track Ten: “Let Me Go To The Show”
Nice up-beat rocker where Bret begs his parental units to allow him to go to a rock show of nondescript to end the album off. Dig them “bad boys” playin’ that rock n’ roll, indeed.

Does It Hold Up: Musically, yeah, this is a pretty good, near-solid hard rock release from a band that would later be known as the poster boys for why Grunge took over in the 1990s. Compared to their other releases, this one is the more raw sounding, leaning more towards rocking rather than the pop formula they grew into later. Lyric-wise, you can’t get much more juvenile than this. The songs are either about sex, being rock n’ roll bad boys, or…well, more sex. Which may have appealed to my hormone-addled young teenage self back in the day. Now, though, I found myself face-palming more than once.

Overall: I give Look What The Cat Dragged In a 6.5 out of 10. The guitar-driven heaviness still retained its kick, but the lyrics killed off a goodly amount of enjoyment.

Music Review: DANIEL BAND – On Rock

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daniel band - on rockDANIEL BAND
On Rock
Streetlight / Lamb & Lion

In the pantheon of early Christian rock bands that should have been bigger and more popular than they ended up being, Canada’s Daniel Band ranks up there as one of the bands that could hold their own with any mainstream hard rock contemporary of the time, and yet never could find the popularity within the Christian rock circles lesser talented bands would get. That was probably due to Canada’s minuscule Christian music industry, as compared to the American CCM industry here. Mind you, Daniel Band could have went the same route as Stryper did, and play all the so-called “secular” clubs and music venues, they were that kind of genuine rock band; however, the members weren’t interested in playing the bars and clubs. And while they did have a big following in their native Canada, they never could crack the American market like they wanted. Which is a pity, because Daniel Band, for all intents and purposes, just flat-out out-ROCKED the likes of every one of their contemporaries, in my not-so-humble opinion.

Take the band’s debut release, On Rock. Released in 1982, the sound of the album was comparable to the likes of Rush, April Wine and Boston–guitar-driven hard rock with a strong progressive edge to it. The album opens with the nice, heavy guitar riff-driven “He’s The Creator” a good straight-forward rock tune to kick things off. This is followed by the Boston-esque sounding “I’m Sorry”, which has a progressive and catchy riff between acoustic and crunchy guitars and keyboards. The songs offer a variety of rock stylings, from the up-tempo hooks of “You Don’t Need The Blues”, “In The Sky” and “Somebody Loves You”, to the more driving hard rock of “Free From Sin”, “Two Roads” and “Never Again”, the blues rock of “I Like To Rock”, and some darker edges with “Undercover Christian” and “Spiritual Game”. The vocals will remind many of the aforementioned Rush, with the higher registry on many of the songs. Production-wise, it’s decent, and going over the production notes, it looks like they had some help from members of the Resurrection Band, which makes sense really.

Overall, On Rock by Daniel Band is an oft-overlooked gem of classic hard rock that blew the likes of Petra out of the water easily. If you’re a fan of Barnabas and Resurrection Band, and you don’t have a copy of this album in your collection, you owe it to yourself to check it out. It’s a solid debut of classic guitar-driven hard rock goodness.

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