Released on www.davidneilcline.com in 2001
THE BAND:
David Neil Cline-guitars, keyboard vocals
tracks 2, 3, 10
J.D. Donnelly –bass
Dexter Arney –drums
tracks 12
J.D. Donnelly –bass
Jeff Giovannangeli –drums
tracks 4, 5, 6, 7, 8, 9, 11
David Neil Cline –lead, acoustic, left side rhythm guitars, vocals,
keyboard, assorted percussion
J.D. Donnelly –bass
Jeff Giovannangeli –drums
Donny Allen-right side rhythm guitar
track 13
David Neil Cline-guitar vocals
Tom McConnell-bass
Jeff Giovannangeli –drums
TRACK-BY-TRACK:
1.) “OI DC/Intro”-Instrumental
2.) “Take it or Leave it” –This tack kicks off with a very Edward Van Halen type
guitar pattern. The vocal section kicks off with a huge vocal harmony piece.
When the song kicks in the band really change the rhythm of the song a lot.
There is a very sixties progressive type keyboard solo. The song has three or
for different musical changes which gives the track a very abstract feel to it.
The guitar solo was turned down and is over shadowed by the musical arrangement.
3.) “The fate of Pain” –This track kicks off with a very clean electric guitar
sound. The guitar pattern used is about one of the best I have ever heard. The
song kicks in with a tom-tom drum rhythm. The vocal arrangement on this track
have a very raw seventies rock feel to them. The guitar arrangement for the
main body of the song has a very in your face effect to them. The solo for this
track is turned up so you can hear it a little better. Even though the solo is
very intense at the same time it is very short. After the solo there is a small
pause within the arrangement.
4.) “Life Under Glass” –This track kicks off with a huge drum fill and an
eighties metal sounding guitar pattern. Vocally the track is very influenced by
eighties underground metal. The solo is done in a very classic metal style.
5.) “Queen of the Skyways” –This track also opens with a very eighties metal
style. David Neil Cline really shows his vocal ability on this track. At times
there are a couple real good harmony sections. The band also incorporates a
keyboard arrangement on this track. There is no guitar solo.
6.) “Morpheus” – Instrumental
7.) “Miss Minority” –The intro to this track kicks off with a huge lead
scale before going into a Black Sabbath type guitar pattern. The main musical
arrangement is real heavy with a huge bass line. The vocals have a under ground
eighties metal feel to them. The chorus of the track has a very thin sound to
it. The guitar arrangement for the verse and chorus is set up in a very simple
sounding way. Through the solo there is a small drum break down section.
Towards the end there is a real huge double bass drum pattern.
8.) “Kassie Lane”-This track opens with a vocal section intro. When the musical
intro kicks in the track has a very early seventies feel to it. There is a real
laid back heavy bass line in this song that is really audible through the
musical intro. After the verse the band change rhythm patterns to a real laid
back funk type pattern. This pattern change is set up real cool because it keeps
the listener hanging on. Because of the way David arranged the change you do
not expect the solo, it just kind of smacks you in the face. The song also has
a very abstract ending that I am not even going to attempt to explain.
9.) “Follow Me”-This track opens with a C.C. Deville type guitar intro. The
opening arrangement for the song has a very eighties melodic metal feel to it.
Vocally the vocal arrangement has a underground seventies feel to it. At times
the arrangement of the vocal lines are similar to Sweet. Now keep in mind
that’s arrangement and not sound. The solo opens with huge Vinnie Vincent type
scales, which fades out then back in. The solo is very intense compared to the
musical arrangement being laid back.
10.) “Good For Nothing”- This track opens with a huge metal/blues groove guitar
pattern. The twelve-note drum pattern and vocals are very similar to Pat
Travers early stuff. The guitar arrangement reminded me a lot of older Dave
Meniketti (Y&T) stuff; even the chorus has that real old Y&T sound to it. The
solo is very laid back but does have a couple real intense scales. After the
solo the song drastically changes to a solid blues lead pattern
11.) “50 Foot Amazon”-Instrumental
12.) “First Reaction”-This track opens with a small but huge sounding drum
fill. The guitar arrangements are done in a very classic metal style. Vocally
this track really shows David’s vocal talent. The vocals of the chorus have a
real thick sound. The chorus also has a very big hook in them. The solo was
done with twin guitars that reminded me a little of some of Tesla’s twin guitar
work. There is a small break in the music after the solo that makes you think
the song is over, but then comes back for one more chorus.
13.) “Stortin’ Whiskey” –Live cover of the Pat Travers classic.
14.) “Hanging up the Phone/End”-Answering Machine…
Who knows if David was every influenced by Dave Meniketti. In my
opinion at times the solo work has a very distinct Meniketti influence, and on
that alone, guitar players out there will really get off on this release. Also
in this day and time it’s not often you hear influences of Pat Travers.
Meniketti and Travers are very underrated as musicians so I’m thankful someone
is finally giving them credit. With that being said, lets move on to some of
the other highlights.
“Through Scrutiny” is not your everyday release just one you can put in
and listen to. It’s more along the lines of one you have to just kick back
with. There is great song writing on this release along with excellent
musicianship. But on the down side I don’t think many non-musician music fans
will be able to understand the full nature of David’s talent. If you are a
musician and you are into very talented songwriting than this release is for
you.