Liesegang / White
Visual Surveillance of Extremities
Guitarist Bill Liesegang and vocalist Doogie White are both stars with long pedigrees, established names in the rock scene, each with their own fanbase. This paring makes a lot of sense. It offers both gentlemen a chance to expand their range and further build credentials. And due to the quality of the album – both goals are achieved.|
Billy's last album No Strings Attached boasted 3 different singers and was half instrumental. It was a solid release, but if anything, lacked some continuity.
Focusing on this album as a band project, with one singer, gives it a truly cohesive feel and while it remains fairly diverse musically, the album is held together perfectly by Doogie's performance and the consistency of the material.
Former Rainbow vocalist and current Cornerstone and Yngwie Malmsteen crooner Doogie White is a natural star and even though he is respected and renowned in this scene, deserves to be a wider household name.
Liesegang is also a great talent, his work as guitarist, bassist and part time keyboard player, not to mention producer, keep this album to his usual high standards.
The only thing I would ask for is more music! There are 11 great tunes here, but it's been some years since Bill's last album and while you always get quality, it would really enhance his standing if the period between his releases was shortened. Let's hope this album is a springboard to more regular releases. His fanbase will grow expedientially the more people get to hear music like this.
Speaking of the production, the overall sound of this album is superb. A beautifully balanced mix (from the expert Tommy Hansen) and a crisp clean sound allows everyone to shine and the guitar solos sound perfect when they take off from within the songs. Just check out Snake Eyes to get what I mean.
Adding musical support on the album is the great Roger Scott Craig, whose keyboard work alongside Bill's adds depth and texture to the guitar driven material.
Track By Track:
A Prayer For The Dying and Snake Eyes are both finely tuned rockers, with a touch of the classic Rainbow sound to them, mixed with Doogie's British hard rock approach and the sound of the last Cornerstone album. Both tracks appeal to me a great deal, and feature strong choruses and some fine guitar play.
Last Temptation is something very different and I must admit to being underwhelmed the first few times around. But boy, what a grower! This is a dark and modern rocker in the vein of Black Label Society and Ozzy Osbourne, with added effects and a truly contemporary metal feel. It's very heavy and very dark, but showcases an amazing White vocal and some diverse guitar riffing.
Worlds Collide is a more gentile and passionate rock ballad, with some very fine reflective guitar soloing and a smooth lead vocal.
New Addiction kicks off with a funky bass line, and an atmospheric, experimental passage of music, which leads directly into a much heavier and aggressive modern rock styled chorus. Quite a contrast and musically challenging.
Vivaldi is the first of two instrumentals – this one providing guitar shred fans with a fine display of fast soloing and Yngwie style musical theater.
The Gathering features some amazing understated guitar work and another passage of experimental vocal delivery, before turning into a traditional Sabbath style rocker, with a dark, mid-tempo heart.
Lost Horizons builds from a slow intro into a straight forward double kick-drum rocker with a suitably strong chorus. Doogie can sing this stuff in his sleep and fans will love it –the song is perfectly placed within the album.
The Ballad of Bible John is a tougher, darker, heavier and more experimental track, with plenty of guitar play and some effects filled vocals. There is no set structure to the song, but it's filled with riffs and works well in context with the rest of the album.
Black Winter is a six minute plus hard rocker with a modern feel and some hooks which become more familiar with each listen. A great vocal makes the track.
Closing the album is another instrumental, Old Father Time. This is a more laid back and reflective track, with some acoustic guitars being featured alongside a new age style musical feel.
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