Night Ranger - ATBPO (2021) [FLAC] {Ward GQCS-91061}
RLSDATE: 2021/09/19 RTLDATE: 2021/08/06
GENRE: Hard Rock FORMAT: FLAC 1.3.3
RiPPER: Exact Audio Copy 1.5 Size: 542 MB
SOURCE: CD RUNTiME: 58:50
RELEASE: Ward GQCS-91061
ORiGiN: Japan MATRiX: RC01 IFPI LY21
with log/cue/nfo/m3u/sfv/300 dpi scans.
SonicPerspectives (dot) com adds...
It is rare that a conversation about guitar-oriented rock occurs without
the name Night Ranger being dropped early on. As one of the bands that
typified the 80s concept of two equally yoked shredders cutting heads
alongside Judas Priest and Iron Maiden, they were nevertheless more in
line with the accessible hard rock sensibilities that would dominate the
radio waves of the decade. As such, one wouldn't be out of line in
suggesting that the consequential exploits of six-string virtuosos Brad
Gillis and Jeff Watson were at least as visible as that of Eddie Van
Halen and George Lynch given the charismatic vocal persona of front man
Jack Blades and the more streamlined stylistic approach that was their
songwriting template. Now with more than 30 years standing between such
iconic anthems as "Don't Tell Me You Love Me", "Sister Christian" and
"(You Can Still) Rock In America" and the present day, not to mention
some major lineup shifts, this same outfit is primed to teach the 2020s
how to rock.
For those who may not have been keeping up with this San Francisco-based
hard rock staple since their initial split in the late 80s, two-fifths
of the original quintet that rounded out Night Ranger's classic era has
since been changed out. In the place of 8-finger tapping pioneer and
showman Jeff Watson now stands California glam rocking guitarist Keri
Kelli, who is himself no slouch in making a respectable ruckus with the
instrument, while a slightly older newcomer in Eric Levy is now handling
the keyboards, which continue to play an important role in shaping the
entire arrangement. The resulting sound that emerges on the eleven songs
that round out 2021's "ATBPO" (which stands for And The Band Played On)
is a grittier one when compared against their mid-80s classics, bearing
some pronounced similarities to some of the recent output of other 80s
icons such as Michael Sweet and George Lynch's recent collaborative
project and Tom Keifer's solo work, but still contains flourishes of
their olden days.
The presentation that emerges here is a dynamic one, often dancing back
and forth between a heavier, impact-based blend of bluesy attitude and a
crunchy rocking edge, and a more anthem-driven approach primed for the
arena. This duality becomes immediately apparent with the driving, speed
opening number "Coming For You", which rides an aggressive riff set
while painting the upper end of the arrangement with plenty of rich
vocal harmonies, only to be upstaged by a wild guitar solo display about
two-thirds of the way through. To state that this song starts things on
a raunchy note would be an understatement, as with the exception of the
punchy cruiser "Monkey", most of the remaining material heard on here
cuts a bit closer to the mid-paced, lofty sing-along romps that made
this outfit a regular on rock radio during the medium's golden age.
Though it should be made clear that apart from the lone power ballad
"The Hardest Road", this is not an album that tones down the hard
rocking edge either.
In a similar sense to the majority of acts that have found themselves in
the Frontiers Records family, the majority of the songs found on here
are tailor made to stick to one's long-term memory like a special
adhesive for the cerebrum. Tuneful goodies such as "Bring It All Home to
Me" and "Hard To Make It Easy" are streaming with consonant guitar
harmonies and witty lyrical input, with Blades showcasing a well-
tempered blend of clean cut, soulful notes and more soaring 70s rock-
infused power. Meanwhile, the more driving blend of heavy metal impact
and guitar gymnastics that is "Breakout" hearkens pretty closely to the
band's earliest hit "Don't Tell Me You Love Me," almost to the point of
being an unnamed sequel. Likewise, one can't help but listen to the
nostalgic acoustic power balladry of "Can't Afford A Hero" and get the
impression that Blades and company are taking a few pages out of his
stint with the Damn Yankees, culminating in the most memorable entry on
a highly infectious collection.
It's a common mistake these days to assume that veteran acts such as
Night Ranger are simply riding the coattails of former glory, and one
that a single listen to this album should help to dispel quickly. With a
very current production quality and a mixture of influences broader than
the ones that originally made this band a household name, this is
definitely an outfit that is continuing to progress. In an age where the
guitar is continuing to be seen as an optional instrument to bolster the
star power of the singer, this stands as one of the more concentrated
repudiations to such notions to occur within an accessible, hard rock
context. Contrary to what some cynical talking heads in the online media
will suggest, rock is far from dead, and those who still crave it will
find a filling, 11 course meal's worth here to fuel the choir of voices
shouting out that you can still rock in America.
Ripper's Notes:
Solid release from Jack, Kelly, Brad and the new kids. This one didn't
catch with me on first listen, but, by the second, it had already
started to click. This will be a welcome addition to the Night Ranger
legacy. But, Jeff, we miss you. . .
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