| Musical Style: Hard Rock | Produced By: Resurrection Band |
| Record Label: Sparrow / Girder | Country Of Origin: USA |
| Year Released: 1985 / 2022 | Artist Website: |
| Tracks: 10 | Rating: 85% |
| Running Time: 40:57 |
Resurrection Band has always been about blues and hard rock, as indicated in its apt enterprising guitar sound and every bit fitting dual vocal approach of Glenn (gritty & gravelly) and Wendi (raw and raspy) Kaiser. Fans and critics alike identify with the groups first four albums as classics. Debut Awaiting Your Reply (1978) introduced the signature Resurrection Band at times Zeppelin and others Sabbath influenced heavy metal sound (at least as defined a the time), while sophomore effort Rainbow’s End (1979) took the next step musically with a choice selection of songs in playing up some cool psychedelic nuances (and ranking among my favorites from the group). It could be said third full length Colours (1980) represents Resurrection Band’s overall heaviest release (or at the very least the only recorded without keyboards) and fourth Mommy Don’t Love Daddy Anymore (1981) its most diverse in exploring pop, wave and traditional blues (in featuring the finest production to the four).
Wheels started to come off - even if slightly - on D.M.Z. (1982) in that despite being top heavy with some all time great material in my opinion suffered from a lack of musical continuity and spotty production. Hostage (1984) revealed improvement in terms of songwriting while upping production values but also fell victim to Rez Band’s (as it was known at the time) mid-eighties experiment (to fault) with keyboards. With its name shortened to just REZ, the group returned to prime form on Between Heaven ‘N Hell (1985) in playing up a cohesive front to back heaviness and musical consistency not seen since its earlier material. No small measure in this regard attributes to primary songwriter Glenn Kaiser, whom might have played a bit role on Hostage (contributing music to just one song) but comes back with a vengeance on Between Heaven ‘N Hell (accredited with seven).
Originally a Sparrow Records release, Between Heaven ‘N Hell was re-issued on Girder Music in March of 2022 to include a multi-page CD booklet with lyrics and liner notes in an easy to read font along with vintage band photos (noting the work of Scott Waters of No Life Til Metal Graphics). Re-mastering (attributing to Rob Colwell of Bombworks Sound) lends a brighter and crisper sound when placed alongside the original - I own the Sparrow CD version from back in the day - to see low-end further stand out (noting the audible bass) and guitars come across with added edge and bite.
Opener “The Main Event” finds Resurrection Band (as I prefer to call them) back and in a not so subtle way! Guitars cross the hard rock threshold on a gutsy mid-paced cut to see Wendi sing at her rawest and rugged best and Stu Heiss cut loose with a generous stretch of eager lead guitar. Song ultimately sets the stage for what in my opinion are some of the groups finest mid-eighties musical moments. Lyric snippet:
You better get ready and you better get set
The truth is you ain't heard nothing yet
This is just a shadow of the things to come
This is like a spark standing next to the sun
Open your eyes to the One who rose
Open your ears in the Holy Ghost
Watch your step He meant what He said
Step right up for the main event
Beginning with “Love Comes Down”, three minutes of ceaseless hooks in which urging in and out of the mix rhythm guitars join with Glenn’s scratchy, plainspoken vocal leanings. Lending to the pleading tone are ample doses of groove driven bass and unequivocal drum fills and rolls, noting the work of Jim Denton and John Herrin, respectively. Of note is how a music video to “Love Comes” down received play on MTV.
“Zuid Afrikan” is first of two epics in excess of five minutes. It backs from the pointed muscle to its predecessors, favoring a melodic and finesse driven form to see atmospheric guitars and genial emotion lead the amicable way. Glenn’s bluesy soloing further builds upon the deliberate feel to a song representing Resurrection Band’s second take on the subject of apartheid (noting “Afrikaans” from Rainbow’s End):
You look for justice
Then you will seek for me
To know compassion you must know my name
For forgiveness you must face your shame
Die to live again
You sow mercy and mercy you shall reap
You sow love then love you shall reap
Fear me the greatest
For I fear no man
Zuid Afrikan
A mistake on my part to overlook “Walk On” back in the day as a filler track in that time has revealed it to age well. The heavy keyboards to start initially turned me off, but what I failed to embrace were the underpinning hard rock guitars to complement them. It also did not help in the process I ignored the authentic melody or heartfelt meaning conveyed by the song, noting the reference in packaging how it is dedicated to those children whose lives are touched by Compassion International. In the end, this is one of Resurrection Band’s most underrated.
Albums second half could not get off to a stronger start than with the effervescent “I Think You Know”. I identify with it as a companion track to “Love Comes Down”, accrediting not just its similar three-minute length, but also the every bit forthright ( beguiling) hooks on full display (almost of a commercial tone). Lone difference is it hits harder when factoring its speedier disposition and thunderous drum assaults. Lyric snippet:
There's nothing left but ashes
Where there was once a stolen kiss
But what the Savior offers
You can't afford to say no!
You can't afford to miss,
The light is shining in your eyes
Now let Him come and live inside
I think you know there's something else
I think you know there's someone else
Many relate to “Shadows” as one of Resurrection Band’s finest ever compositions, or at the very least is included in the same sentence as “Where Roses Grow” (off Innocent Blood from 1989), although in my opinion “American Dream” (Colors) and “The Chair (MDLDA) deserve equal consideration. Songs accolades are aptly deserved when factoring its histrionic mien, moody and slow at onset to acoustic guitar and feedback, but erupting at once as fateful guitar kicks in and leads the way to the magnanimous refrain lightened by keyboards. Acoustic guitar returns at the halfway mark subsequent to a pointed instrumental run.
Wendi returns vocally on punchy hard rocker “Nervous World”. It brings similar levels of catchiness as “Love Comes Down” and “I Think You Know” in light of the force to its bouncing guitar rhythms and compelling allure when factoring the head on impact to its weighty refrain. Heiss contributes another ripping lead guitar stretch. Lyric snippet:
And they wind you up till the mainspring breaks
And the tension beats like a drum
So you bounce right back for another go-round
Along the road to hell they're on
Don't think or we may come unglued
Party till the world is nuked
It's a nervous, nervous world
Everywhere we see the rise and fall of men
It's a nervous, nervous world till
He comes again
“2000” ends album in equally accomplished fashion. Enticing with its sober mid-paced bearing, song revels in consummate melody to an impeccable aligning of indicating bass and pointed momentum in reaching for the meticulous. Haunting is the feel as things fade out to the wistful phrase ‘by the year 2000 may His love be known…’
Two additional Wendi songs in “Talk To Me” and “Save Me From Myself” do not register with me from being too heavily keyboard focused while (unlike “Walk On”) not allowing guitars to play an underpinning role. I am not suggesting either is a bad song, but it could be said such a keyboard based environment does not play to Resurrection Band’s strengths, which as previously noted consists of blues and hard rock.
After a step back (in my opinion) on D.M.Z. and Hostage, Resurrection Band recaptures its prime form on Between Heaven ‘N Hell to create a work I rank alongside the classic first four albums. So many great songs to choose - “Love Comes Down”, “Zuid Afrikan”, “I Think You Know”, “Shadows”, “Nervous World” and “2000” - with top shelf production to go in hand, which is further bolstered by the Girder re-mastering. Only fault are the keyboard driven songs that if replaced by a legitimate hard rocker (how about a studio version to “Game Room” off Live Bootleg?) would result in a near perfect track listing. If interested in an upgraded version to the album or failed to acquire Between Heaven ‘N Hell back in the day, make the Girder re-issue a priority purchase.
Review by Andrew Rockwell
Track Listing: "The Maine Event" (3:03), "Love Comes Down" (3:08), "Zuid Afrikan" (5:20), "Walk On" (3:12), "Talk To Me" (4:25), "I Think You Know" (3:13), "Shadows" (5:00), "Save Me From Myself" (3:30), "Nervous World" (4:22), "2,000" (4:56)
Musicians
Glenn Kaiser - Lead Vocals & Guitars
Wendi Kaiser - Lead Vocals
Stu Heiss - Guitars
Jim Denton - Bass & Keyboards
John Herrin - Drums & Percussion
