(Frontiers)
As the title implies, this is yet another live offering from the former MSG/Rainbow/Alcatrazz/Impellitteri vocalist. Although filmed/recorded at the Whiskey, in LA, back in August ‘24, it is essentially the same running order as this past year’s US tour (reviewed here). Look, I love Graham’s work (was one of the few still around that saw him front Rainbow, on the Down To Earth tour), but this is the third “album” from his solo band since 2017 (each 16 selections long, although the current one includes pointless keyboard and drums solos, as well as a cover of Deep Purple’s “Lazy), not to mention his live appearances on the Michael Schenker Fest and posthumous Alcatrazz live discs released in that same time span.
So how is Hollywood again different from its predecessors? Well, the line-up has changed over the years, the singer surrounding himself with his bassist girlfriend and an unknown cast of characters (no longer affiliated with Alcatrazz, no Jimmy Waldo on keys, nor Warlord/Fates Warning drummer Mark Zonder, despite the solos spots on the current release). At least 75% of the tracklisting is duplicated across the trio of Graham Bonnet Band issuances, comprised of the better-known songs from his past.
The recent iteration bypasses his Impellitteri days, no “Stand In Line” (which had graced prior works). And after a nasty “divorce” with the “resurrected” Alcatrazz, their material has been curtailed, down to just “Too Young To Die, Too Drunk To Live” (no “Jet To Jet” nor MTV approved “God Bless Video”, the biggest tunes for that act), although “Night Games”, a solo track from his ‘81 Line-Up record (which also birthed the ubiquitous “S.O.S”) was on the ‘84 Live Sentence LP.
As always, the show opens with “Eyes Of The World” an upbeat number that showcases Bonnet’s voice, as well as the guitar (it is an old Rainbow/Blackmore tune, after all). Between songs, the audio is hastily edited, leaving out much (any?) of the stage banter that is integral to the Bonnet show these days (self-deprecating humor and old stories). Apart from the odd titular introduction and/or thanking the crowd (often faded out), Bonnet’s raps with the audience are nonexistent. Shame.
He ad-libs an interjection of “Bullshit” within the lyrics of “Love’s No Friend”, which is a bit of a keyboard-centric cut. Plenty of audible (dominating?) backing vocal come “Making Love”, with its calliope-like keyboard runs. Short, poppy “Since You Been Gone” is unlike any of the others, embellished here, with a brief guitar flourish. A keyboard solo follows, introduced by the guitarist, speaking more spoken words than we’ve heard Bonnet say, thus far.
The keyboard meandering leads into a full band, albeit acoustic, rendition of Deep Purple’s “Lazy”, before the mainman returns to the stage for “Imposter”. Truth be told, this is where the set bogs down. From the keys spotlight, through lesser known and more esoteric numbers like “S.O.S.” and “Desert Song” (always felt Assault Attack was a disappointing MSG record, especially on the heels of the stellar pair of studio albums and the One Night At Budokan live effort) to another solo, this time on drums, it’s definitely the weak link in an otherwise impressive string.
“Night Games” returns to familiar ground, emboldened by the weak introductory tracks. Ditto “Into The Night”. Really could have used a bonafide “crowd pleaser” during this stretch, say one of the forgotten Impellitteri cuts, or Alcatrazz absentees. “Assault Attack” is a step in the right direction, but my reservation about said platter have already been aired. That said, it is the “best” of the bad MSG lot and the only track that approaches rock intensity. The parting double shot is great stuff: “To Young.. Too Drunk” and crowd augmented “Lost In Hollywood” finale. Ultimately this is why the folks paid their money and will endure that barren, late set letdown. Still, in the live archives, there’s already so much from which to choose.
Long live Graham Bonnet!
Rating: 7.0
Credit: Source link