7800° Fahrenheit

Bon Jovi's sophomore release found the New Jersey group continuing with its engaging mix of hard rock dynamics and blatant pop-metal overtones, and primed the pump for the coming popular explosion of Slippery When Wet. Ever since the keyboard call to arms of the breakthrough "Runaway," Bon Jovi had understood that real success lay in a billowing smoke, soft-focus derivation of true metal, where Journey-style synthesizers and soft rock chorus vocals were the name of the game. To that end, 7800° Fahrenheit tempered its black-leather rock & roll with a rudimentary form of the sound that would make Bon Jovi superstars.

Bon Jovi

From the opening track, "Runaway," which rode to glory on E Street Band-mate Roy Bittan's distinctive keyboard riff, to the sweaty arena rock of "Get Ready," which closed the album, Bon Jovi's debut is an often-overlooked minor gem from the early days of hair metal. The songs may be simple and the writing prone to all clichés of the form, but the album boasts a pretty consistent hard rock attack, passionate playing, and a keen sense of melody. The prominence that keyboardist David Bryan (credited as David Rashbaum in the liner notes) gets on this record is an indicator, perhaps, that Bon Jovi had more than a passing interest in the pop market, which was then dominated by new wave and synth pop. Mixing Journey-like '70s rock ("She Don't Know Me") with shout-along stadium anthems ("Love Lies"), the self-titled Bon Jovi lay the foundation for the band's career, which reached its apex several years later with that very same combination of pop melody and arena-sized amibiton.

The Disregard of Timekeeping

It shouldn't be surprising that the debut album by a band fronted by Jason Bonham, son of Led Zeppelin drummer John Bonham, would bear a resemblance to the music of Dad's band. But The Disregard of Timekeeping doesn't so much sound like a Led Zeppelin album as it does like one of the solo albums by former Zeppelin singer Robert Plant. That is to say, it is altogether more conventional and controlled -- more pop, in a word -- than Zeppelin, which could be quite adventurous at times. Here, Bonham-the-group sets up majestic guitar/keyboard riff patterns; Daniel McMaster, in a familiar tenor screech, repeats simple chorus hooks; and Bonham-the-drummer pounds away in the familiar hard, woody sound of his father. The result is palatable, but without the famous name it would be hard to distinguish from the army of other Zep imitators.

Boney Fingers

This local band from Kenosha has been long known for their ability to weave acoustic and electric into a root style that bridges the gap between jam rock and blues, Boney Fingers has won the hearts of many fans. While instrumental is the obvious flavor of the day, stellar vocals arrangements keep this band off the slippery slope of degeneration that many jam bands slide down. Top-notch percussion and all around musicianship abounds for a show that caters to a range of tastes.

Train of Thought

Saw these guys about 15 years ago in a nightclub. Haven't heard much of them since...Bones of Contention is a six-piece explosion of sound, energy, and excitement. This CD contains all original compositions in the style of "Grateful Dead" and "Little Feat". They are a Jam-band that gained a well-deserved reputation as one of the Mid-West's finest live acts. They use twin guitars and a B3 organ for that psychedelic big sound.For ten years the band developed a unique style of arrangement and performance, which is evident on their second release-"Train of Thought". Think psychedelic blues/rock with a touch of country. Yes sir--this was the bands peak, captured with emotion and vitality. The band has never sounded better, with the original line up intact. Here is the sound of drive and celebration, with songs that run, stroll, laugh, and jump. Bones of Contention : Bob Parduhn on lead/slide guitar and vocals, Rob Giannattiasio on drums, Annie Perry on vocals and percussion, Paul Countryman on guitar and vocals, Jeff Gordon on bass, and of course engineer Scott Finch on piano, organ, and vocals.

Private Eyes

After the breakup of Deep Purple in 1976, guitarist Tommy Bolin wasted little time beginning work on his second solo album, Private Eyes. While it was more of a conventional rock album than its predecessor, Teaser (which served primarily as a showcase for his guitar skills and contained several jazz/rock instrumentals), it was not as potent. The performances aren't as inspired as those on Teaser or even those on Bolin's lone album with Deep Purple, Come Taste the Band, although there a few highlights could be found. The nine-minute rocker "Post Toastee" merges a long jam section with lyrics concerning the dangers of drug addiction, while "Shake the Devil" is similar stylistically. But Bolin wasn't simply a hard-rocker; he was extremely talented with other kinds of music: the quiet, acoustic-based compositions "Hello, Again" and "Gypsy Soul," and the heartbroken ballad "Sweet Burgundy." With his solo career starting to take shape (after the album's release, he opened for some of rock's biggest names: Peter Frampton, Jeff Beck, Rush, ZZ Top, etc.), Bolin's life was tragically cut short at the end of the year due to a drug overdose in Miami, FL.

Red Car, Nice Day....

A Kenosha, Wi local band that friends of mine once had. Led by vocalists Dan Lenegar and bassist Dan Buckley along with Blu Steel offers some face melting metal. As with many local bands in the area, they didn't last very long. Lenegar and Buckley are now in a group called Supernaut.