Alcatrazz's 'V' - Album Review

It seems that Alcatrazz albums are like buses: there is not one for ages, and then two turn up at once. Having last released an album in 1986, the rock band returned last year with Born Innocent (which I reviewed here) - their fourth album and the first since their 2019 reunion. While frontman Graham Bonnet had toured under the Alcatrazz name between 2006 and 2014, the 2019 reunion was the first time that he was joined on a permanent basis by two of the band's other original members: bassist Gary Shea and keyboardist Jimmy Waldo. Both Shea and Waldo were ever-present during the band's classic era, and contributed to the three albums that Alcatrazz released during the 1980s. It was great to see three of the band's original members reconvene and write new music, but Born Innocent ended up being a bit of a strange beast. Whilst I enjoy it, in truth it is an Alcatrazz album in name only. There are so many guest musicians on the album, that it feels more like one of those Frontiers Records project releases than a true Alcatrazz album. Shea only played on about half of the album, and only five of the album's 13 songs were actually written (from a musical standpoint, at least, as Bonnet wrote most of the lyrics) by members of the band. It is my view that Born Innocent actually started life as the third Graham Bonnet Band album, and was hastily re-branded as the fourth Alcatrazz album when Shea came onboard - as Waldo had been part of Bonnet's solo band for a number of years. As such, Born Innocent never truly felt like Alcatrazz returning - and it did not surprise me when the band split at the end of 2020. Citing a disagreement regarding the band's management, Bonnet announced that he was leaving Alcatrazz to form his own version of the band - and that Doogie White (La Paz; Midnight Blue; Rainbow; Cornerstone; Yngwie Malmsteen's Rising Force; Tank; Michael Schenker's Temple of Rock) was replacing him. As much as the split did not surprise me, it was surprising that it was Bonnet who was conceding ground to Shea and Waldo. Bonnet has always been the focal point of Alcatrazz, and it has always been seen as essentially his band. Recent interviews with Shea, however, hint that Bonnet had to be persuaded to reform Alcatrazz in the first place - which gives further credence to my theory that Born Innocent was originally intended to be a Graham Bonnet Band album. Regardless of the ins and outs, however, Bonnet is out and White is in - and the band have been hard at work over the past year creating their fifth album. The appropriately titled V was released last month - and it shows that the new-look Alcatrazz is a much heavier and more neo-classical beast. Joining Shea, Waldo, and White on the album are guitarist Joe Stump and drummer Mark Benquechea - who both return from Born Innocent. White and Stump have written much of the album's material, with contributions throughout from Waldo, band manager Giles Lavery, and White's old Tank bandmate Cliff Evans (Tank; Killers) - the latter of which also plays bass on one track.

The album's opening track, Guardian Angel, perfectly shows off the heavier sound that the band have recently cultivated. Given Stump's love of neo-classical shredding, the album can often sound like an Yngwie Malmsteen release - and V sounds like a bit of a mix of Rainbow's 1995 album Stranger In Us All and Malmsteen's 2002 opus Attack!!. Both of these albums feature White's vocals, and V continues on in that trend with a monstrous guitar presence and plenty of hefty Hammond organ. Despite the new Alcatrazz line-up being firmly cemented, the band still felt the need to include a handful of guests here. Guardian Angel features both bassist Don Van Stavern (Riot V) and drummer Nigel Glockler (Toyah; Saxon; Thunderstorm). Van Stavern plays on three of the album's songs, while Glockler drums on two. I am not sure why this was necessary, as the new Alcatrazz band could easily cope without them. Irrespective of this, however, Guardian Angel is a great opener. It is a fast-paced neo-classic metal anthem, driven by Glockler's double bass drumming, and it is a real showcase for both White and Stump. Anyone who has been paying attention over the past 30 years will know of White's talents, and he sounds great throughout the album, but Stump is a revelation. He never truly got to shine on Born Innocent due to the sheer amount of guest guitarists, but throughout V he is unleashed. The main riff/melody of Guardian Angel is a perfect mix of Malmsteen and Ritchie Blackmore; with Waldo's ever-present organ adding some classic rock weight. Unlike a lot of Malmsteen's modern output, however, the songwriting is actually strong. Guardian Angel is a very memorable song, with a hooky chorus and a number of musical movements that stick in the brain. Stump's solo is unsurprisingly great, but they atmospheric keyboard-led section that precedes it is also excellent. The understanding between Stump and Waldo is great; and it is something that is displayed throughout the album. Nightwatch is similar, but this time it is driven by Benquechea's double bass drumming - rather than Glockler's. While Stump's guitar is still a big part of the song, Waldo's keyboards are higher in the mix this time. His spooky organ really helps to bring the song to life, while Stump and Van Stavern lay down a tight rhythm. Naturally, Stump throws in a few neo-classical licks - but this is a song that generally goes for a heavier sound overall that relies less on flashy leads (with the exception of his excellent solo). Sword of Deliverance is the first song here to feature all five of Alcatrazz's members, and it is a catchy album highlight that puts paid to the idea that they need any help (even if it is co-written by Evans). There are strong Deep Purple and Rainbow vibes here, as the pace is slowed down somewhat. Benquechea and Shea lay down a strong groove throughout, while Waldo's pulsing Hammond backs Stump's simple riffing. It was songs like this that made Stranger In Us All such a great comeback for Rainbow in the 1990s, and why White was the perfect fit for Blackmore's style. This song could have come from that album, and the big chorus is one of the album's hookiest moments.

Turn of the Wheel ups the pace again, but also turns the clock back. Malmsteen has often been ridiculed in recent years for his inability to actually write a proper song these days, but hearing Turn of the Wheel brings to mind a time in the 1980s when his albums were actually great. Stump's playing and songwriting style is like Malmsteen's from the 1980s, and in White he has found the perfect foil. The two work so well together, and their songwriting is full of a lot of interesting quirks - as well as lots of good old tropes. Turn of the Wheel has another catchy chorus, but I also really like the atmospheric pre-chorus section that features some great keyboard textures. Malmsteen used to do things like that too, before he wanted the spotlight on himself 100% of the time, and it shows that great songwriting is often more than the sum of its parts. Blackheart, the last song to feature Glockler, has a bit of a crunchy power metal vibe. The song is not particularly fast, however, but bands like HammerFall are certainly brought to mind here. There are neo-classical runs, but on the whole the song is much riffier - with Stump focusing on a lot of tough rhythm playing, while Waldo adds colour. The chorus emphasises the song's power metal roots too, with plenty of joyous vocal harmonies that help to give it a big sound. This is not something employed that often on the album, so it helps the song to stand out. Grace of God, which was co-written by and features Evans, is another strong mid-paced rocker that opens with its core chorus hook and remains very melodic throughout. Unlike Blackheart, which featured more riffing than lead guitar work, Grace of God is much more neo-classical in style. Evans' bass and the drums provide the main driving rhythm throughout, while much of Stump's playing is more melodic in nature. Even throughout the verses his playing is often quite lead-orientated. This does not detract from White's singing, but it means that when listening closely a lot of interesting little leads and melodies can be heard. It is unsurprising, then, that Stump's solo is also packed full of furious runs - and it is one of the album's speediest. Return to Nevermore is a slower song; following on in the grand tradition of tracks like Rainbow's Ariel and Malmsteen's Dark Ages. Neo-classical rockers have often written songs like this, with snaking Eastern-tinged melodies and plenty of room for atmospheric keyboard playing. The fact that the song is slower does not mean that it is a ballad, however, as there are still plenty of crunchy riffs throughout. The lumbering pace allows White a bit more space to shine, but Stump still makes his presence felt with his groovy riffing - as well as his lengthy solo. Target, the final song to feature Van Stavern, ups the pace again and returns to the style that the band used to open up the album with. The song is a hard-driving rocker, with lots more double bass drumming and rhythmic riffing. This is another song that features Waldo's keyboards in a more prominent role too. While Stump usually handles the lead interludes, Waldo plays them here - with the chorus in particular being backed by a great keyboard melody that perfectly compliments White's vocals.

Maybe Tomorrow slows the pace down somewhat, and it is another song with big Deep Purple vibes thanks to Waldo's organ regularly cutting through the mix. It is also one of the album's most atmospheric pieces; as throughout the song mixes hard rock sounds with slightly symphonic moments. The main riffs are typical of the album's sound, thanks to Waldo's organ and Stump's stabbing guitar patterns, while the verses see the band scale things back somewhat to be augmented by gentle strings and Waldo's piano. The song is not a ballad, however, as much of the song is still pretty heavy - but the atmospheric sections help to add some dynamics to the piece, and as a result the song is one of the album's more diverse cuts. House of Lies is another very Deep Purple and Rainbow-esque piece, so much so that the main riff is very reminiscent of Rainbow's All Night Long. This eyebrow-raising similarity aside, the track is a fun addition to the album. The Deep Purple and Rainbow channelled previously has largely been the bands' lengthier, more gothic sides - but it is nice to see the poppier side of Blackmore's playing also referenced. Stump's riffing throughout is similarly catchy, and Waldo backs him up perfectly in that classic Deep Purple style. Many of the songs on this album go for a much more epic sound, but House of Lies is almost carefree in comparison. This shift in tone is welcome, and the song is likely to be one that works well live thanks to its upbeat groove and sing-a-long chorus. Alice's Eyes is another upbeat track, but the poppiness of the previous song is gone - replaced instead by the album's typical heaviness. Benquechea's drumming throughout is punchy and relentless, while the instrumentation from Stump and Waldo is varied and frantic. The riffing is pretty straight forward, but both players often divert from the script to add little flourishes - which sound downtuned and heavy due to the song's gritty mood. The standout performer here for me, however, is White. He sings really well throughout the whole album, but his vocal melodies here are particularly great - and he hits some impressive high notes during the gothic choruses. The album's closing number, Dark Day for My Heart, is also its gentlest. V is a pretty relentlessly heavy album, but Dark Day for My Soul slows things down quite considerably and goes for more of a ballad-esque approach. Stump's guitar weight is featured much less here, with Waldo's varied keyboard playing instead in the spotlight. The early portions of the song are piano driven, while atmospheric Hammond takes over when the rest of the band join in. There are moments that up the heaviness somewhat, but they never reach the heights of the rest of the album. The song maintains its ballad feeling throughout as a result, and there is a greater emotional pull than usual - particularly during Stump's excellent solo. Given the album's overall heaviness, ending things on a relatively lighter note works well - and it shows that the new-look Alcatrazz are not all about one thing. While some may be sceptical about Alcatrazz without Bonnet, V shows that this new-look Alcatrazz are a force to be reckoned with. The songwriting throughout the album is very strong, and the neo-classical sounds are a real joy. Anyone who likes 1980s-style hard driving metal will love V, and I will be interested to see where Alcatrazz go next.

The album was released on 15th October 2021 via Silver Lining Music. Below is the band's promotional video for Grace of God.