Blind Date - 'Blind Date'
Released on October 19th 2004 through Perris Records
www.perrisrecords.com
THE BAND:
Unavailable
TRACK FRAGMENTS:
1.) "Don't Wait Up" - This song opens with a rhythm being
played on the toms and snare. The main musical intro kicks in with the one
guitarist playing a C.C. Deville influenced guitar arrangement. After the
lead guitarist plays about one bar of music the rhythm guitarist kicks in
underneath the lead. At the tail end of the intro the lead guitarist
breaks away from the rhythm to play a small lead guitar scale. The opening
vocal line of the first verse has a very Donnie Vie ( Enuff z Nuff) feel to the
sound. The backing vocals run underneath the main vocal lines of the
chorus and are off set from the lead vocals. After the pre-chorus there is a
very short lead scale rhythm that connects the pre-chorus to the chorus.
The drummer changes the bass drum pattern several times through out the track.
This gives the song a lot of depth. During the guitar solo section the
drummer incorporates a few double bass drum rhythms just for flavor. The
outro section ends with a backing harmony fade-out.
2.) "Can You Feel It" - The guitar riffs of this intro are pretty
standard and I believe every band from the eighties have used it. The drum
arrangement of the intro was done using a twelve-not hi-hat pattern. There
is a small lead riff kicking in a pre-chorus section. There are a couple
real cool drum fills during the verse section of the song. Even though
there is a bass line for the opening verse the bass does not really shine
through the music until the second verse. There is a small vocal line
right before the second verse that really shows the lead singers vocal talent.
Before the solo there is a small backing harmony section that shows the
tightness of the guys in the band. The guitar solo itself was right out of
the eighties. There is a very small lead guitar scale that runs underneath
the ending chorus. At times it sounded like there was an amplified
acoustic guitar that was used as a fill in instrument, but it may have been a
clean electric, sometimes it's very hard to tell.
3.) "She's Walking" -This ballad opens with a keyboard underneath a
small guitar arrangement. At time the way the lyrics are arranged gives
the opening few lyric lines a Cheep Trick "The Flame" feel. Through the
first pre-verse and verse the drummer lays back using just the ride and crash
cymbals with a few drum fills. There is a sweet hook during the chorus
section that almost gives the song an older Warrant feel. The solo is very
laid back and was very well written for this song. After the third chorus
there is a minor solo section that runs underneath the outro chorus.
4.) "Daddy's Little Girl" -This track opens with a drum fill.
The guitar tracks for the intro are set up where the rhythm and lead guitar are
playing two different rhythms. After the intro section there is a small
break in the music that sets the intro apart from the verse. During the
first verse there is a very small double bass rhythm that allows the drummer
express his his feet ability. underneath the pre-chorus the drummer plays
the same little bass drum fill. These two little patterns really sets the
song apart for anything on the release so far. After the first chorus
there is another pause in the music but this time around the band added a woman
moaning going into a pick slide. as a former musician and songwriter, I
love stuff like this!!! Between the second and third pre-chorus there a
little guitar riff that just blew me away!!! The solo was overdubbed over
the rhythm and done with doth guitarist, just the way it should have been done
for this song. The opening of the fourth chorus was done acapella (without
music). There is a small lead guitar scale that runs underneath the outro
chorus.
5.) "Broken Promises" -This track opens with a small keyboard
arrangement and lead guitar scale. The keyboard part along with the vocal
arrangement of the verse section gives the song a progressive feel. There
are these huge backing harmonies through the first pre-verse. The main
guitar arrangements are set up in a very simple fashion. For the first
pre-verse the drummer plays a twelve-note pattern on just the hi-hat. The
verse sections where done with a double bass drum. The verses are laced
with backing harmonies that allows the guys to express their harmony talent. The
twin guitar solo has a very George Lynch of Dokken feel to it.
6.) "Everybody's Baby" - This track opens with an almost Autograph
type intro. At the tail end of the intro section there is a small lead
guitar scale. After the first pre-verse there is a very small lead guitar
scale that connects the pre-verse and verse. The chorus section has a very
middle eighties hook within the vocal lines. I really liked how the
drummer incorporated a tom-tom rhythm through the chorus section. The
guitar solo for this track also has a twin guitar sound too it. The
backing harmonies are unbelievably tight on this track.
7.) "We Keep Falling In Love" -This track opens with a keyboard and
vocal line that opens the intro. The main musical intro was done with a
picking electric guitar rhythm. The verses are keep very simple which for
this track and this style of music they should have been. The lead and
backing vocal lines of this song makes the track. At times the song has an
older Ted Poley and Danger Danger feel to it. The guitar solo is very
tight and was well suited for this song. For the musical section after the
solo the song takes a turn towards an older Autograph style.
8.) "Dreaming" -This ballad opens with a lead guitar scale. The
vocalist changes his vocals for this track to a more deeper sound. The
main guitar arrangement through the verse sections are very laid back and simple
structured. The bass line and drum arrangement locked in very well, and
gives the song a solid back beat. I have not heard a sweeter hook than the
one for this chorus in a very long time. There is a very cool acoustic
guitar arrangement used to fill in some of the empty spaces of the song.
The guitar solo sounds a lot like the stuff Vandenberg wrote for Whitesnake on
the bands stuff released in the eighties. The outro section was done with
keyboards.
9.) "Without Your Love" -This track opens with a very cool guitar riff
and lead scale. That has a major influence of George Lynch. The
backing vocals of the chorus are very laid back and subtle. After the
first chorus there is a small lead guitar scale that connects the chorus too the
second verse. Vocally especially on the vocal accents the vocalist
has a very Ted Poley feel to the vocals. With the main solo the guitarist
keep the George Lynch influence. Underneath the chorus after solo section
there is a small clean electric guitar arrangement. There also is a small
lead scale that runs underneath the outro chorus.
10.) "When I'm Alone" -This track opens with a hard hitting heavy
metal arrangement and lead scale. At times they added a vocal echo to the
vocal lines of the verse. After the first chorus there is a minor solo
section. After the second chorus there is a small musical breakdown
section. Underneath the chorus after the breakdown there is a lead guitar
scale that runs underneath the chorus.
This is one of the greatest CD's I've
heard in a very long time. Even when I take into consideration that the
songs where recorded between 1988 - 1990. It still ranks up there with the
majority of the stuff wrote and released sense. As a former musician from
this era I can honestly tell you that this is the way it was meat to be done.
Maybe if bands from that era between 1988 and 1992 had have concentrated more on
the songwriting and the quality of music they where recording instead of an
image or what certain label reps. wanted this this genre would not have died out
like the dinosaur!!! But the past is the past and I'm glad to see a small
company like Perris Records take the time to give music fans such a gem.
This is an absolute must have for any music fan that is into eighties style hard
rock.