| Musical Style: Hard Rock | Produced By: Daniel Band |
| Record Label: Refuge / Retroactive | Country Of Origin: Canada |
| Year Released: 1983 / 2018 | Artist Website: |
| Tracks: 10 | Rating: 80% |
| Running Time: 39:15 |
Straight Ahead, the 1983 Refuge Records sophomore release of Toronto, Canada’s Daniel Band, makes a strong case as heaviest of the group’s five-album repertoire. Lamb & Lion Records debut On Rock from the preceding year might have surpassed it in terms of polished production, not to mention featuring some of Daniel Band’s finest ever songs in “I’m Sorry” and “Never Again”, but was nowhere near as guitar based. Likewise, 1984 follow up effort Run From The Darkness, arguably overall better in giving prominence to the finest combination of choice production and songwriting on a Daniel Band album, hit hard but not quite to the same extent as Straight Ahead. Fourth album Rise Up from 1986 potentially delivered similar levels of muscle but was not on the same level musically (at least my opinion), while 1988 swan song effort Running Out Of Time found Daniel Band taking a more commercial musical stance in line with the MTV and radio friendly sounds of the time.
Which brings us full circle back to Straight Ahead, a work not unlike most sophomore albums demonstrates Daniel Band taking the next step musically as the better-rounded project in comparison to On Rock, a somewhat uneven work to feature a few too many skip buttons for my taste. What has not changed is musical direction in that Daniel Band maintains its penchant for seventies influenced heavy metal and early eighties hard rock akin to countrymen Triumph and April Wine, a comparison which invites due to the high end and classic tenor vocal abilities of bassist Dan McCabe. Rush has also received mention in terms of comparison but that might be misguided in that Daniel Band brings nowhere near similar levels of progressiveness as the renowned power trio. Lending further creditability to the Triumph and April Wine correlation is how Daniel Band also includes more than one lead vocalist in reference to lead guitarist Toni Rossi, whom brings a grittier, middle register delivery when placed alongside.
Re-issue history to Straight Ahead begins in 2003 on Retroactive Records as a ‘2-for-1’ with Run From The Darkness on the same CD, but also includes second Retroactive re-issue from 2006, a standalone release to feature re-mastering from Rob Colwell. Third re-issue to Straight Ahead from early 2018 and again Retroactive also benefits from Colwell re-mastering and is packaged in a jewel case with a 12 page insert encompassing new band photos, lyrics and a write up from Retroactive owner Matthew Hunt.
Opener “Power Of Love” provides a good indicator as to the Daniel Band heavier side. Slamming guitars at the start set the assertive tone, with the irascible demeanor sustained for the thickset verses and every bit impassioned refrain smoothed by McCabe’s inviting classic tenor. A slower passage at the halfway point to highlight a worshipful flair - ‘I see the morning and Your glory’s there’ - gives way to a searing stretch of Rossi’s lead guitar.
“Your All I Need” takes the more affable mid-paced approach. Albums first cut to feature keyboards, it coalesces guitars both lighter and heavier - the harmonies and melodies throughout are near mesmerizing - to make an emotional if not affecting statement. Impression is mirroring the Straight Ahead assertive aspect but also yielding strong doses of melody.
Albums title track returns things to heavier territory. With Rossi’s driving vocals leading the way, “Straight Ahead” proves a full on brawler realized in underlining traces of groove (noting the measured work of timekeeper Matt Del Duca) and hooks of an understated capacity (a Daniel Band staple). Lead guitar literally sizzles between the left and right channels.
“Here I Am” separates with its melodic propensities. The song establishes and affluent environs in which lighter acoustic sentiments trade off with more focused rhythm guitar, while keyboards make an almost classical statement. I like to think of “Here I Am” as providing foreshadowing for the more commercial direction taken on Running Out Of Time, albeit without any drop in quality.
“T’ank You” is a mini classic that trends outside the metal and hard rock framework with its Jamaican reggae based groove. The song comes across uplifting in form, as freely flowing guitars and McCabe’s conscious bass mingle with Rossi’s complementary raspy vocal tinctures to reflect upon the worshipful. Of note is the darker feel to the instrumental interlude as staunch guitars briefly move to the front of the mix.
“Lustful Illusions” is lone Straight Ahead track in which I remain on the fence. It certainly has nothing to do with message - as its title implies the song makes a strong anti-porn statement - or musical direction in ranking with the heaviest of an already heavy album. Rather, it revolves around a slight repetition revealed in the somewhat heavy-handed feel to the refrain. Final verdict is I am inclined towards the song - I have owned a vinyl copy of Straight Ahead since its early eighties release and not once skipped over it - but it is not my albums favorite either.
That designation goes to three-minute stomper “Reality”. The song starts with a bang and does not let up its length, with pummeling rhythm guitars affixing themselves over a foundation of stark bass as McCabe stretches and reveals the breadth to his refined voice. Yes, full on energy and unmitigated aggression is the upshot but so is an engaging quality despite the angst.
“Come Into My Life” contrasts with a slower mid-paced tone rooted in the same heaviness. However, it is heaviness of a bluesy nature, as revealed in grainy guitars and a darker and down tuned front to back predisposition. My favorite part, and this is what puts the song over the top for me, are the instrumental moments in which guitars and classical keyboards contest.
“Comin’ Home” takes a similar bare bones metal heading but at the more elevated tempo. Straightforward and no-nonsense is the feel at hand in that this might not be the albums catchiest but not skip worthy either in yielding a powerful and in your face hard rock mentality. I particularly enjoy how at the halfway point the song slows to keyboards and lighter guitar that give way to a scorching run of soloing.
“Into My Mind”, albums lone ballad and second cut to break from the hard rock mold, pleasantly drifts its four minutes to acoustic guitar and orchestration. Albums most even vocal performance from Rossi lends to the bountiful melody that resonating.
The Straight Ahead production might not yield similar levels of polish as On Rock or Run From The Darkness but is solid all the same with a rawness in line with the forthright feel to the music at hand. In terms of re-mastering, I compared the 2018 Colwell version to the Straight Ahead tracks appearing on The Best Of Daniel Band compilation from 1993, which far as I can tell were not re-mastered. Impression is marked difference in terms of a brighter and overall cleaned up sound in which added bass permeates the mix and background details better stand out such as Del Duca’s drum rolls at the end of “You’re All I Need” and keyboards throughout “Here I Am”.
The Daniel Band prose is faith based but also touches upon social matters. “You’re All I Need” is a song of faith:
I remember You told me
That You'd never go away
And I believe in my heart You're here to stay
And I remember the evening
When I chose to go Your way
It's been a brand new morning everyday
When all I have to give is what I am
So many time's I've failed You
So many times I've given in
And yet You gave for me the Spotless Lamb
“Here I Am” comes across in the form of a prayer:
Here I am
I have tried to be all I can
Tried to be a respectable man
But what You see is not quite what You planned
Oh I know there is so much of me that should grow
But I find it so hard letting go
Oh Lord give me the strength I need
I am tryin' so hard to be
Like the Man crucified for me
“T’ank You” conveys a worshipful vibe:
Lord I want to thank You yeah
Lord I want to praise You
Lord I want to thank You
Lord I want to praise You
Praise You
Hallelujah praise the Lord
It's time we listened to God's word
It's time we live in one accord
So come on make a joyful noise
“Lustful Illusions” delivers an anti-porn message:
Inside the cover waits the perfect mate
No flaw can be found on her body or face
Painted and posed with a smile that disarms
She seems to offer you all of her charms
And Satan is at the very core
A deadly disease an open sore
The love and freedoms they proclaim
Deprived and oppressed it's all in vain
To be God's servant or Satan's slave
Lost forever or eternally saved
Straight Ahead might not be my favorite Daniel Band album, that designation belongs to the iconic Run From The Darkness, but at the very least challenges the underrated Running Out Of Time for the second or third position. Its legacy revolves around how it has successfully stood the test of time as one of the more consistently heavy Christian hard music albums to come out of the early eighties (and ranks alongside Rez Band’s Colours, Stronghold’s Fortress Rock and Barnabas’s Approaching Light Speed in this capacity). It further impresses from how Daniel Band makes its material memorable in the face of such heaviness, while incorporating strong cuts that fall outside the heavier framework.
Which version of the album to get? Since both the 2-for-1 from 2003 and 2006 re-issues are of print and on the pricier side of things, the 2018 re-issue, obviously, is the best option. Availability, however, should not be the only reason but rather stark upgrades from re-mastering and choice packaging with the 12-page insert should rather be the deciding factors.
Review by Andrew Rockwell
Track Listing: “Power Of Love” (3:27), “You’re All I Need” (4:21), “Straight Ahead” (3:38), “Here I Am” (3:03), “T’ank You” (5:04), “Lustful Illusions” (4:27), “Reality” (3:08), “Come Into My Life” (3:52), “Comin’ Home” (4:03), “In My Mind” (4:07)
Musicians
Dan McCabe - Lead Vocals & Bass
Toni Rossi - Guitars & Lead Vocals
Bill Findlay - Guitars & Keyboards
Matt Del Duca - Drums & Percussion
