Customer Reviews

The Best Of Alcatrazz

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Alcatrazz was sort of an inversion of a super group, built around ex-Rainbow screamer Graham Bonnet. The original lineup of Alcatrazz featured two master guitarists before anyone outside of LA had heard of them. First up is a very young Yngwie Malmsteen, and to hear Yngwie's playing in a power-pop/metal band context is interesting...as is how developed his trademark style was even back then. Six of the songs feature Yngwie, including one of Alcatrazz's two pseudo-memorable originals ("Island in the Sun") and three live songs including versions of Bonnet's oft-rerecorded two semi-hits with Rainbow ("Since You Been Gone" and "All Night Long"). To me, the live stuff with Malmsteen is worth the price of admission, but you also get several solid songs with a young fretboard burner and whammy-bar fanatic called Steve Vai...Vai was Yngwie's replacement post-Zappa before the DLR and Whitesnake gigs which led up to his eventual solo popularity. Following Vai's departure to work with Dave, Alcatrazz got a third shredder who remained obscure...before slipping ocne and forever into the dustbin of metal history around 1986-87. Bonnet went on to work with (Chris)Impelliteri -- and, tellingly, the best song they came up with was "Since You Been Gone" version fiveor six. The complete Alcatrazz albums are fairly weak as well as hard to find, but a tiny label with the band's bassist involved in this project has put together a highly worthwhile and easy-to-acquire recap. Dated, yes. Cheeseball, you bet. But if you were 12-18 in 1983, or you've become a fan of Malmsteen or Vai since then, you might invest the bucks in some crunchy reminiscence.

This is a magnificent collection from a band with unbelievable musicians. I have bought three copies of this CD for other friends who play guitar. How can you get a better album from a band with Steve Vai and Graham Bonnett? This is without a doubt the most treasured CD I have ever owned.

Way back in the day I had the entire Alcatrazz canon (such as it was, only 3 studio albums and one live set) on cassette. The three studio albums were kind of spotty and the live album was inessential, but there were some good tunes to be found.

Since the original albums are available on cd only as very pricey imports, it would seem to me (and to casual fans or the curious I'm sure) a sensible move to pick up this domestic compilation. Well, it would have been if someone had chosen the right songs.

I can't really argue with the selections from "No Parole" or "Live Sentence", but "Disturbing The Peace" and "Dangerous Games" are completely misrepresented here. Somehow they managed to pick 9 songs from these two albums and still miss the highlights, especially on "Dangerous Games". Oh, well. May be the original albums will get reissued domestically someday.

Note: My comments are based on the quality of the songs chosen, not the quality of the playing of Mssrs. Malmsteen and Vai. If you are a total frethead may be these were the best tracks?

Although this compilation focuses on Alcatrazz's greatest hits culled from its three studio albums and one live album, I have chosen here to review the band's last work, Dangerous Games, individually, as this anthology is (as of now) the only available means to hear a few songs from that underrated LP which I believe merits its own attention. Should it hopefully become available online as a separate entry, I will accordingly move this review. Consequently, I will not review here the songs for No Parole which I have written elsewhere under that album's title.

After collaborating with two of the arguably most technically proficient guitarists in rock- Yngwie and Steve Vai- at the time of their third album Alcatrazz was confronted with a formidable juncture: either to find another guitarist of comparable virtuosity- a meager prospect given their past alumni- or operate as a cohesive band emphasizing solid songwriting over flashy soloing. With the resultant product of Dangerous Games, Alcatrazz clearly chose the latter, a wise option which not only permitted the band to establish its own identity bereft of an axe god, but also enabled hitherto marginalized members like Gary Shea and Jimmy Waldo to rise to the forefront. While Vai's replacement Danny Johnson is a capable shredder in his own right- he had to be, as he had to pass what was then surely one of the toughest auditions in rock music- Alcatrazz undoubtedly must placed an interdict upon him not to overshadow the band like his stellar predecessors. Thus, it is no accident that Johnson's solos are short and concise, thereby granting breathing space to his bandmates. As this is intentionally Alcatrazz's least ostentatious output, the album acquires an understated appeal and modesty otherwise lacking in its predecessors. Unlike No Parole which instantly fascinated and enthralled the listener, Dangerous Games is a less immediate album which requires patience and several listenings to be fully appreciated. On a personal level, apart from the excellent- and most rocking- tracks "It's My Life," "Undercover," and "Tokyo," I was initially unimpressed with this album and was nostalgic for the unremitting assault of No Parole. However, after a few listens, I quickly came to respect this album in its own right as the overlooked coda to Alcatrazz's sadly short career.
Even still, "It's My Life" remains the finest track on the album, a fitting opener which instantly grabs the listener like No Parole through its powerful verses and anthemic chorus. Given the band's acute financial, label, and management problems which resulted in their dispersal shortly after this album's release, when Graham sings the opening verse, "It's a tough world to get by, all the good things are taken," we know he is not rehashing a rock cliche about tribulations long transcended
but speaking from contemporary experience. Unlike most acclaimed rock vocalists nearing forty who comfortably reminisce about their early hardships from the lofty porch of their mansions, Graham unfortunately not only lacked such affluence but was still struggling to find a secure band for himself. Thus, in addition to imbuding deeper insight in his lyrics, his comments are refreshingly sincere and genuine. Though the inclusion of a cover of Graham's old Marbles hit "Only One Woman" is an obvious illustration that Alcatrazz just barely had enough original songs to fill an album, overall the songwriting is competent, and at times, exceptional. "Undercover" and "Tokyo" both benefit from catchy choruses and Graham's frequently excellent studio vocals, in contrast to much of his inconsistent live performances. His delivery peaks on the all-too-short closing number "Night of the Shooting Star," where his a cappella harmony is impeccably recorded via multiple tracks, which proved what an outstanding vocalist he was when he sang in an comfortable middle register unconcerned with screaming his lungs out.
"Double Man" features additional contemplative lyrics in the tradition of "Starcarr Lane," albeit in a darker vein as Graham incisively describes an encounter with his sinister doppelganger. However, the most intriguing cut is Witchwood, a song whose supernatural themes are augmented by the melodic, restrained, and ethereal colorings by keyboardist Jimmy Waldo. Although not a virtuoso (at least not revealed during his Alcatrazz tenure) and primarily inclined towards rhythmic embellishments, Waldo here amply illustrates his strong songwriting with the regulation of Johnson allowing his capabilities to finally be appreciated in their own right throughout Dangerous Games. Clearly he was the unsung hero of the band, as his contributions were undoubtedly decisive in molding "Island in the Sun," "General Hospital," "Kree Nakoorie," and "Starcarr Lane" into fantastic tracks possessing a unique potency and inspiration never quite recaptured on Yngwie's solo albums. Unfortunately, due to Yngwie's brilliant neo-classical frenzy and Vai's kinetic jazz-metal axework, Waldo's contributions were easily minimized, especially live. However, his invigorated performance on Dangerous Games underscore that Waldo was indispensable, even if on a collective level, in providing elements of the magic that graced Alcatrazz's catalogue.
Although the undeniable stylistic changes of Alcatrazz's studio output have prompted unfair conclusions that the guitar heroes were decisive in writing the music, these contentions are inaccurate in neglecting the elements which were continuous throughout the band's existence- Graham's powerful voice, insightful lyrics, and Waldo's restrained keyboard- which gave Alcatrazz a unique identity of its own separate from Yngwie and Vai. Assisted by a sharp, crisp production- the best of all its albums- Dangerous Games comes closest to exhibiting Alcatrazz as a balanced band with the bass and drums clearly audible. This album's commerical failure and the band's subsequent demise were both products of unfortunate financial woes and lacklustre label support, yet within a mere three years Alcatrazz produced a formidable, diverse catalogue which will not be easily forgotten and prompts hopes that a reunion will somedy materialize whereby the band will obtain long overdue success and artistic recognition.

This CD capsulizes the short history of a band that could have been a force in the 1980s. Despite the short lifespan, the band managed to write many great tunes. This is highly recomended for all music fans.

If you don't know about this band, I guarantee you that it is always time to check them out. Graham Bonnet, the gifted vocalist previously from Rainbow and MSG, finally took control of his own musical tastes and went for it with Alcatrazz. Their first incarnation was with no other than Yngwie Malmsteen in the guitar duties, still in his early twenties and still about to conquer the world with his over-the-top axeworks. The three first songs on this album are from their first studio effort, titled "No Parole from Rock and Roll", which arguably is one of the best albums ever in the history of hard rock. Of course, only three songs make no justice to an album of that calibre, but you'll get the idea: a spiced-up blend of MSG's "Assault Attack!" and Rainbow's "Down to Earth", with Yngwie shining on his own right on the six strings. Every song from that period is worth a listening, but pay special attention to "Hiroshima Mon Amour". The guitar solos there are purely tasteful neoclassic shredding, as good as it can be. Bravo, Yngwie!

Then you get another set of three songs (tracks from 4 to 6) with the first line-up, but this time in a live environment, taken from the "Live Sentence" album - the second (and the last) with Yngwie Malmsteen. The live album was rushed almost right after the first studio album. Maybe the band felt they should state on record that the Swedish guitar god was also able to deliver the goods live, or maybe they just wanted to release some more material quickly... Anyway, these other three songs actually are covers they played in the live album, taken from Bonnet's previous catalogue. However, they did sound pretty well played by Alcatrazz. - specially "Night Games".

Tracks from 7 to 11 are from what I call the "nerdiest" period of the band. Though their rhythm section (drums & bass) was rather "low profile", bringing in Steve Vai as Yngwie's replacement gave the band a progressive edge no one could imagine would ever happen. Their third album ("Disturbing the Peace"), with Vai doing the axes, took a truly strange, funky color. To me these songs have always had a weird halo of mystery or intrigue. I mean, if thinking man's metal does exist, these songs are under that classification. I love them all! Vai's unorthodox phrasing is completely orthogonal to Yngwie's playing, but God it does work well for this band! A shame that it bombed commercially.

By the way, I think Vai wasn't really a true innovator like Yngwie was, since Vai's playing is "just" a blend of Hendrix, Zappa and Van Halen, but of course all taken to a never-seen-before level of perfection - thanks in part to Satch's teachings too. However, chop-wise and musicianship-wise there is no match for Vai. He is just the best metal guitar player ever, period - and the quirkiest one too. His album with Alcatrazz shows how interesting he can make things up when truly in the mood. You can taste it from all the songs here - "Dessert Diamond" was left out, yes, but that's just for you to buy the "Disturbing the Peace" album. :-) Shamefully, mere mortals weren't prepared for such a twist. And shamefully too, Vai left when David Lee Roth gave him a call - an offer he just couldn't refuse (well, DLR's "Eat'em and Smile!" is just another amazing album, so it was just "partially shamefully" that he left ;-)).

In any case, Vai left and things went really bad for Alcatrazz from then on. The remaining songs on this compilation are just a fight to stay alive, taken from their fourth and last album, "Dangerous Games". Guitarist Danny Johnson walked in recommended by the label, in an effort to make the band to survive after Vai's departure. It simply didn't work. Judge by yourself. Those songs are just so... forgettable! I wished Vai had stayed, or if at least Impellitteri had been hired, who knows where Alcatrazz would be now? But well, as obscure as Alcatrazz remained after they faded to black, they still left a mark in the history of rock. This compilation witnesses what it was, and it was no less than a five star band, mostly while Malmsteen and Vai were there. So, five stars too to this superbly presented and carefully selected set of songs, and thank you for the music, once more! Just do yourself a favour and buy all their albums too. ;-)

Yngwvie - Graham - What else can I say ..... Classic.

If you grew up loving Rainbow-Sabath- Dio- You'll Love this

I have to agree that Graham Bonnet's voice is not to everyone's liking.

It is definitely a love or severe dislike situation.

One thing that makes this album a four star work for me,with all considerations of song selection and other qualms set aside,

is the fact that on show are two of the most influential guitarist's to emerge in a very long time.

For that alone the album is a great thrill,how many albums boast such a stellar player in the guitar slot?.

Ian.

Graham Bonnet is well known within hard rock circles of a certain age due to his presence in Rainbow and then a stint in MSG. so at the time of the birth of Alcatrazz it's probably fair to say that all he had to do was turn up and he'd be offered a record deal.

Anyway, this release showcases tunes from all four Alcatrazz albums. Luckily for the newcomer this best of is organised in chronological order which is a great bonus. First up are the Yngwie tracks, both from No Parole from Rock 'n' Roll and the Live Sentence release. The live tracks include All Night Long and Since You've Been Gone, tunes Yngwie would of loved due to their Blackmore associations. Regardless, the tunes are a varying bunch, the first three tracks each having their own feel. In fact Yngwie played some of these tunes in the early days of his own solo career.

Next up is Steve Vai who unfairly was heckled by some of the bands fans after replacing Malmsteen. Here the guy fits into the role - actually playing straight, proper songs - not something his solo work is exactly litttered with....

Last on the revolving guitar playing spot is Danny Johnson. Without prior personal fame he is perhaps the least illustrious of the bands axe meistros but he handles his duties with aplomb. And just like Yngwie and Vai he co-wrotes a bunch of tunes.

A dilemna for me personally is Bonnets voice. In some indefinable way it just doesn't grab me and is too rough too much of the time But no denying his rapport with a suitably adoring Japanese crown on the live tracks here. And the subject matter spans a range of issues (presumably Bonnet was lyricist) and that helps keep this collection fresh. Ultimately this isn't a bad album but then again it didn't inspre me to buy their back catalogue.

For the anoraks out there - the rest of the band comprised Jan Uvena, Jimmy Waldo and Gary Shea - the latter two from AOR band New England. Shea is actually responsible for the liner notes to this release.

If you are a rabid Malmsteen fan, you will want this in your collection. It doesn't necessarily reflect any of the personal tastes one would find on a solo release from Yngwie, but there are tasty tidbits galore.Personally, I prefer Steeler for early Yngwie, probably because Steeler gave him more *time* to burn on solos than he was allowed with Alcatrazz. But his guitar playing with Alcatrazz was a bit more polished, and the ideas possibly a bit more refined.Either way, this is a good album for any guitar-freak. Oh, yeah- there is also "some other guy" on the album named Steve Vai who does some decent playing if you like your Floyd Rose whammy-bar theatrics.Get this album and you will be condemned to years of woodshedding and broken guitar strings.