| Musical Style: Melodic Metal/Hard Rock | Produced By: |
| Record Label: Round Records / Soundmass | Country Of Origin: Australia |
| Year Released: 1992 / 2021 | Artist Website: |
| Tracks: 21 | Rating: 85% / 80% |
| Running Time: 77:38 |
If you want an eighties influenced melodic metal and hard rock band that offers ‘catchy choruses, fantastic songwriting and talented playing’, then Justice and its 1992 Round Records debut full length Counting Down should be on your radar. Consisting of lead vocalist and guitarist Darren Grant, guitarist Clem Sturgess, bassist Shane Curtis and drummer Marty Smith, the Australian four piece combine for ten ‘hair/pop metal’ inspired songs recommended for fans of Stryper, Ratt, Bloodgood, Dokken, Angelica, Bride and Zion. In order to celebrate the 30th anniversary of its release, Soundmass Records re-issued Counting Down in December of 2020 with a 12-page booklet home to re-imagined cover art, lyrics and vintage band photos (noting the work of Scott Waters of No Life Til Metal Graphics). Re-mastering (attributing to Rob Colwell of Bombworks Sound) breathes new life into the original tracks for upgraded sound quality.
Bonus material comes in the form of an entire second album from Darren Grant’s new band Daz Of Oz. Grant made a turn of the century move to the UK to join the hard rock band Eruption for the 2009 Escape Music album All Screwed Up but returned to Australia with the goal of recording the backlog of quality material in his possession. A reunion of sorts materialized when he recruited former Justice band-mates Marty Smith and Shane Curtis, with the upshot Daz Of Oz and its appropriately entitled 2011 debut 1. Musically, Daz Of Oz compares favorably to Justice with a similar eighties metal and hard rock affinity but ingrained of further variety in the form of technical metal ala King’s X, groove to funk based overtones not unlike Lovewar and even the occasional blues based and Country Western twang.
Counting Down resides upon a foundation of heavier mid-tempo cuts, beginning with melodic hard rocker “Disciple” and its combining of driving muscle and meticulous vocal melodies, but also includes albums diverse title track with its transitioning between plainspoken moments of an intrusive nature and those contrasting with a dignified flair. Grant does a choice job on both exhibiting his earthy and soulful mid-ranged vocal abilities.
Maintaining the heavier themes is “Blood Of His Son”, one of albums finest in light of its front to back galloping facility to play up punchy bass and subtle hooks with the exultant energy reminding of Rage Of Angels. Likewise, “Stand Up” flexes its muscles in distinguishing as no frills hard rock impelled by raw-edged guitars (adorning the course verse sections) and double kick drum (backing the agile refrain). Inherent to the two are ample doses of sizzling lead guitar.
In a more upbeat but commercial vein is “Race For Victory”, burnished with its abundant harmonies alongside torrents of implacable hooks and bustling acclivity, and “Givin’ It All”, every bit leading as a speed based track derivative of a boogie metal flair and earthy vocal melodies. The pair successfully captures the classy pop and hair metal of the time not unlike Angelica and Stryper.
“There’s A Better Way” proves every bit uplifting in taking the polished components to the next level in playing up a sing along anthem chorus and plethora of melodic guitar leads. The same applies to “Grace Of God” in upholding a worship rock essence within a party metal framework in endorsing melody on high and straightforward salvation message. First Watch era Guardian comes to mind either way.
Outside the box but also good is “Way Back Home”, albums lengthiest cut at five and a half minutes but staying true to an AOR infused acoustic rock basis with an airy complexion and underpinning rhythm guitar. I can see this fitting in on Bloodgood’s Rock In A Hard Place. “Jesus Is The Rock” stands apart as well in upholding a blues heavy rock sound akin to Glenn Kaiser Band but infused with metal praise undercurrents and fitting gritty licks and chops.
Counting Down is a strong eighties metal and hard rock album inherent to strong vocals and musicianship along with an upfront message. I wish Justice had stuck around to record a follow up release.
Final verdict: Overall consistency and continuity to Counting Down lends to a well-deserved 85% score.
The Daz Of Oz bonus tracks are exactly that- a bonus! Again, the group treads similar musical territory as Justice but stays true to its own diverse sound all the same. Opener “Believe” separates in this regard as a joining of hard-hitting riffs and bluesy guitar sentiments but with a Gospel choir at the end that brings to mind Enzo & the Glory Ensemble. Vocally, Grant impresses as a melding of Joe Dokken (Scream In Eden) and Paul Stanley (Kiss).
Also breaking the mold is follow up cuts “Let You Know”, presenting with a catchy at times groove-like and others funk laden vibe that hints of Lovewar, and “Shine”, folk influenced melodic rock instinctive to acoustic guitar, organ and a Country Western flair to close. Said Country Western nuances further reveal on ensuing number “Tappin’ The Feet” with its take to the dance floor rollicking rhythms and harmonies.
Completing albums first half is brilliant Kiss cover “Love Her All I Can” in presents with all the non-stop engaging hooks and riffs you could ask. That said you have to feel for the guitarist that had to learn all those intricate Ace Frehley licks and chops!
One of its stronger songs “Nobody” opens the second. What we have is slow and moody hard rock, darkly bass woven in resonating of a predominant melody but with delicate keyboards building upon the stately mood. “Lies” is of equal quality. It contrasts with a more keyed up disposition in reinforcing the pensive and an every bit far reaching melody. Former reminds of Messenger with its stately mid-ranged vocals and latter King’s X in terms of the flowing vocal harmonies. Great lead guitar on both.
Also good is hard charging rocker “Proven Infallible” with forward guitar aptitude and elevated backing vocal mix (almost a bit heavy for my taste) aligning with cool lead guitar and bass instrumental interplay. “Reflection” is every bit notable but more commercial, riding an eighties melodic metal wave (sort of like Letter 7) with grainy vocals and shouted harmonies decorating the backdrop.
Only a couple songs I do not get into in “Gonna Be Alright” and “Overview”. Each takes a straight up rock approach woven with light rhythm guitar, with former more upbeat of the two in playing up female co-lead vocals and latter touching upon folk rock revealed in humble bass and layered harmonies. While nothing wrong with the two, I do not find them to be quite memorable as albums stronger material.
Daz Of Oz might include many of the more interesting if not outside the box musical moments of the two projects in at times straying outside the eighties metal and hard rock framework of Justice. It certainly maintains the high standards of songwriting and musicianship.
Final verdict: It would be nice to hear more from Daz Of Oz to build upon a very fine 80% graded work.
Justice verses Daz Of Oz? My thought is to take them both! Yes, Justice might derive from a straight up eighties sound and Daz Of Oz a similar but more varied inclining, with either showing a high level of musical acumen and would make worth additions to your collection. Either way hats off to Soundmass for making both available in such an upgraded and high quality package when noting re-mastering and mini-booklet.
Review by Andrew Rockwell
Track Listing (Counting Down): “Disciple” (3:17), “Race For Victory” (4:40), “Way Back Home” (5:23), “Givin’ It All” (4:08), “Jesus Is The Rock” (3:09), “Counting Down” (3:40), “Blood Of His Son” (3:18), “There’s A Better Way” (4:10), “Stand Up” (3:31), “Grace Of God” (3:33)
Track Listing (1): “Believe” (4:46), “Let You Know” (4:19), “Shine” (3:08), “Tappin’ The Feet” (3:26), “Love Her All I Can” (2:44), “Nobody” (4:22), “Gonna Be Alright” (3:15), “Lies” (2:52), “Overview” (2:52), “Proven Fallible” (4:55), “Reflection” (2:11)
Review by Andrew Rockwell
