Alcatrazz's 'Take No Prisoners' - Album Review

Alcatrazz are one of those bands that have a big banner reading 'What If?' hanging over them. Despite finding an audience in the 1980s, they essentially acted as a springboard for the careers of two American guitar legends without ever making much of a mark themselves. Perhaps this turnover of guitar heroes did not help, but I would have still thought that being fronted by Graham Bonnet in his prime, fresh from Rainbow and the Michael Schenker Group, would have counted for more. It was not to be, however, and the band split in 1987 after three albums with three different guitar players. They deserved better, but then so do many bands - and Alcatrazz are just one of many good bands who never got the respect they deserved. This, though, makes the recent Alcatrazz story so interesting. Reforming in 2019, the band released their fourth album Born Innocent (which I reviewed here) the following year. Born Innocent contained a lot of strong songs, but it felt more like a Graham Bonnet Band album that was released under the Alcatrazz name given the sheer amount of guest musicians and songwriters that contributed to it. A few months later, though, Bonnet was out of Alcatrazz and another Rainbow alumnus Doogie White was in. Given that Alcatrazz always seemed to be Bonnet's band, the change was a shock - particularly given that Born Innocent had not really been a true band album. Perhaps this was part of the issue, but Bonnet seems content to be a solo artist these days anyway - and Alcatrazz has continued on under the guiding hands of founding members bassist Gary Shea and keyboardist Jimmy Waldo. Bonnet has an extremely distinctive voice, but I have been a big fan of White for a number of years - so I was keen to hear what Alcatrazz would sound like with him at the helm. I did not have to wait too long, as V (which I also reviewed here) came out towards the end of 2021 - and introduced a new-look Alcatrazz which very much played into White's more traditional hard rock and heavy metal background, as well as really letting current guitarist Joe Stump run wild. Stump had impressed on Born Innocent when he was not being forced to share the spotlight with the various guests along for the ride - but on V he really got to showcase his neo-classical talents. It was clear that he and White had struck up a strong writing partnership from the off, too, and that has continued on throughout the second Alcatrazz album of the White era, Take No Prisoners, which was released last month. Waldo and manager Giles Lavery chip in too, but generally, again, this album is the White and Stump show from a songwriting perspective - with the former laying down a number of strong vocal hooks and the latter contributing lots of big riffs and solos. There are no 'guest replacements' this time, either, as even V featured additional drummers and bass players - meaning that Take No Prisoners is a true representation of the current Alctrazz line-up. Speaking of drummers, though, it is the band's first effort with Larry Patterson (Arbitrater; Chokehold; Blaze Bayley; Iron Knights; Raven Lord) - and the journeyman New Zealander does a fine job throughout.

The retro hard rock sound of V is generally retained throughout Take No Prisoners, and the album continues the good work which the 2021 release started. Little Viper kicks things off, and opens with a riff which could have been written by Yngwie Malmsteen. Stump is clearly a big fan of the Swedish guitar hero, and channels his style throughout - but, thankfully, the songs here are much more song-based than much of Malmsteen's recent catalogue. The main riff hooks the listener in the from the off, which is soon augmented by Waldo's organ countermelodies, before White join in - delivering a slightly more atmospheric verse with aplomb. The riffing is less hard-driving during the verses, which allows the keyboards to add depth, but the song still drives along at a decent pace - particularly as it accelerates towards the chorus with plenty of double bass drumming from Patterson. The chorus sees the song's opening riff reused, and the heavier section hits hard with some strident vocal melodies which sink into the brain nicely. The hooks are very typical of White's dramatic style, and he demonstrates throughout the album why he should be held in higher regard, whilst Stump later lays down the first of many busy, yet melodic, solos. Little Viper very much sets the tone for the rest of the album, then, and is another great representation of the White/Stump writing partnership. Don't Get Mad...Get Even follows, and the song takes more of a meaty hard rock direction - with a strident opening riff packed with 1970s grooves, and everything culminates in a shout-along chorus which features the members of NWOBHM legends Girlschool adding extra depth to the gang vocals. The song is perhaps less hard-driving and neo-classical than is typical of the album's core sound, but Alcatrazz occasionally slip into a more anthemic hard rock territory, with occasional hints of 1980s stadium rock, and Don't Get Mad...Get Even is a great representation of that sound - with the main riff packed full of groove and hooks, and the chorus an instant winner (especially with Waldo's organ flourishes). It certainly channels a lot of fun throughout its meaty riffing - and it acts as a great simpler hook among the album's more neo-classical moments. Battlelines returns to the album's core sound, then, but there is more of an atmospheric depth throughout. The song is weighty, with a chugging riff that keeps it moving, but Waldo's keyboards also take on a more prominent role. Neo-classical rock/metal often has a strong keyboard presence, and Waldo's synths and organ add a lot to the mid-paced Battlelines - and act as a melodic halo to Stump's chugging riffing and occasional bursts of lead playing. Songs like this also really bring the best out of White in my opinion. His thespian edge thrives during songs such as this - and the uplifting chorus is made such by his excellent delivery, and the subtle vocal harmonies throughout add depth. Stump's guitar solo is pure Malmsteen, too, and it is also fairly lengthy - which allows him to stretch out against the song's more atmospheric backing to really make his mark.

Strangers slows things down, and opens with some clean guitar melodies from Stump - before Patterson's drums kick in, laying down a sombre beat which forms the basis of the verses. The guitars take a bit of a backseat here, with a rhythm section of Shea and Patterson creating the main base for everything, whilst Waldo's keyboards are high in the mix. The opening guitar melodies remain, but they are generally sat below the swirling synths - and this allows White's emotional vocal delivery to shine. As such, the song feels like the album's ballad, but it changes later on. The chorus is rocked up a bit, with more of a guitar presence and Waldo's Hammond organ pulses, but the overall pace remains quite slow for the most part. This allows the heavier sections to hit hard, but the song does start to race away towards the end - with a flashy keyboard solo from Waldo seeing the pace upped before the song's closing section feels more much typical of Alcatrazz's modern sound. As such, the song has a pretty dynamic arrangement, then, and I really like how it grows from its slower opening sections. Gates of Destiny, written by AOR songwriting legend Jim Peterik, is another mid-paced hard rocker - and one that sticks to the band's core sound despite it being written by Peterik. Those expecting an AOR song in the vein of Survivor will be disappointed, as the song still feels very much like the rest of the album - although perhaps the vocal melodies during the chorus are a little more overt than they otherwise would be. There are strong shades of early Rainbow here, too, which is unsurprising given White's and Stump's influences and history, but generally the crunching guitar riffs and the ever-present keyboards create a familiar-sounding bed for White to weave his magic. Waldo's keyboards create a grandness throughout, which is aided by the song's mid-paced strut - and is furthered by another lengthy guitar solo from Stump later in the piece which tunnels further into the Rainbow mine. The self-titled song which follows ups the pace again, and is driven from the off by Patterson's double bass drumming and some busy Stump guitar playing. The song very much feels like it could have fit on one of Malmsteen's early classic albums, as Stump's playing is a mix of chunky riffing and off-kilter lead work - whilst the atmospheric depth added by the keyboards is a great counter to the hard-driving drumming. As such, the song is very typical of the band's modern sound, and it channels its influences nicely. There are certainly hookier songs here, but the overall sound that it creates hits the nail on the head. I really like the atmospheric depth created throughout, which is exemplified later by Waldo's keyboard solo, and the overall pace keeps things sounding heavy. In many ways, the song perfectly showcases what great neo-classical rock/metal should sound like - and White's dramatic chorus brings everything together. Holy Roller (Love's Temple), co-written by Saxon's Nibbs Carter, is another more mid-paced piece, which opens with some stuttering riffing and drum rolls, but again is another good representation of neo-classical sounds. The balance between the guitars and the keyboards is well struck throughout, meaning that there is enough atmospheric depth without sacrificing too much weight. I do not find the song to be as memorable as some of the other cuts here, but there is still a lot to like - with the swinging chorus adding a slightly different vibe and Stump's guitar solo is another winner.

Power in Numbers is much more keyboard driven than the rest of the album - but I like the change in tone overall and it still sticks pretty closely to the album's core sound. Waldo's keyboards are important throughout the album, but generally Stump provides the main riffs. The opening sections of this song, though, are very much dominated by pulsing keyboard riffs and stabs - with the guitars providing more of a crunchy, rhythmic backing. This change in emphasis is welcome, though, and the song stands out for that reason. The keyboard riffing is very much out of the 1970s classic rock playbook - but set against a more metal backing the piece still feels nice and weighty. The keyboard dominance brings the best out of White, too, who really soars throughout the track - particularly during the headbanging chorus which crawls along at a weighty and more deliberate overall pace. Given the keyboard dominance an organ solo or something similar would have been nice, but Stump's neo-classical shred explosion is still welcome - especially as it is really his only moment in the song where he shines, which shows that he also knows when to step back somewhat. Salute the Colours also has a strong keyboard presence, but the balance between the guitars and the keyboards is much more finely-balanced again here - with the opening instrumental flourish seeing Stump and Waldo trading licks and playing in unison, before the pace slows down to a classic heavy crawl to again showcase that early Rainbow sound (with a hint of Black Sabbath, too). There is a doomy nature to the song throughout, particularly given Stump's slow-paced riffing and the horror depth which is added by Waldo's organ, but the song still contains a number of key neo-classical elements. White shines during this slow-burning, dramatic, and heavy piece - and the slightly folky melodies utilised during the verses add a slightly different dynamic. Despite this slight lightness, though song overall feels like one of the album's darkest moments - with the heaviness and brooding nature bleeding through throughout. Stump's solo feels a bit more upbeat, but it is still set against a slower backing. What is upbeat, though, is the album's closing cut Bring on the Rawk, which returns to a vibe similar to that of Don't Get Mad...Get Even with a shout-along chorus and more of an anthemic sound. The pace is much faster, though, which means that the song does not have as much of a classic rock strut - with Patterson's double bass drumming keeping everything ticking, which gives the album a real kick as it comes to a close. The riffing is busy, then, but the keyboards still provide a strong counterpoint, and White goes all-out vocally - particularly during the frantic chorus which is packed with gang vocals and a strong overall attitude. One last instrumental section sees both Waldo and Stump shredding, too, and the album comes a high-energy end - in a similar manner to how it began. Now two albums deep into the White era, it is clear that Alcatrazz are reborn and aim to be a going concern once again. With V and now Take No Prisoners, the current era is creating a strong legacy for itself already - and those who love neo-classical rock/metal and want to hear lots of great guitar solos and strong hooks will find plenty to enjoy here.

The album was released on 19th May 2023 via Silver Lining Music. Below is the band's promotional video for Battlelines.