| Musical Style: Melodic Metal/Hard Rock | Produced By: Frank levin |
| Record Label: Image 7 / Retroactive | Country Of Origin: Canada |
| Year Released: 1991 / 2020 | Artist Website: |
| Tracks: 10 | Rating: 85% |
| Running Time: 42:44 |
“Many people have felt we’re alienating the Christian market because we are doing secular shows – I personally don’t feel I’m in either the secular or the Christian market place right now, but rather in the educational market.”
-Brian Lutes
Few bands capture the late eighties to early nineties commercial metal and hard rock sound like multi-national act Siloam. Close listen to the groups 1991 Image 7 debut Sweet Destiny meets all the requirements: the notable melodies to garner MTV and FM radio play, a soaring vocalist capable of a high-end falsetto but also reaching down for some lower register grit and shredding guitarist with a penchant for blistering leads in addition to the occasional leaning towards the bluesy. Image fits the bill as well in that the band delivers the needed ingredient in terms of hair, hair and more hair but go beneath the surface and you will find a bit more than meets the eye all the same.
It traces to the bands beginnings and Ottawa, Canada based drummer and founding member Brian Lutes, whom coming out of a streetwise background came to the faith after nearly dying of a drug overdose only to later return to the streets to work with kids and relate the Gospel to them in a creditable manner. Lutes in the meantime had given up on music until approached by his pastor about a dream he had of him being involved in a band called Siloam (moniker derived from John 9:7). Unduly inspired, Lutes reached out to a songwriting partner from a previous band, Tom Saidek, and began holding auditions in Los Angeles and Europe, which resulted in a vocalist and bassist that both hail from Boston in Lee Guthrie and Chad Everett, respectively, along with a keyboardist native to Vermont, Ken Maris. Guitarist Tim Laroche was recruited out of Iceland. With its lineup set, Siloam entered the studio to begin recording the ten tracks making up Sweet Destiny.
Similar to many albums of the time, Sweet Destiny went out of print and turned into a hard to find collectors item. Enter Retroactive Records, whom in February of 2020 re-mastered (courtesy of Rob Colwell of Bombworks Sound) and re-issued Sweet Destiny on Gold Edition CD and limited edition vinyl (200 copies). A professionally done mini booklet credits to Scott Waters of No Life Til Metal.
Please note that the majority of the albums lyrics stem from Lutes’ experience from working with kids on the street. He shed further light on the matter in a 1991 interview with the international Christian rock music publication Take A Stand:
“Up through the time the current lineup for this band was formed last year, I was out there on my own in the streets working with the kids. Much of the lyrics and song writing on the album stems from those experiences. The songs are very testimonial. I really feel the kids in the streets today are broken and hurting and they need someone to take them by the hand and meet them halfway, walk the distance with them.”1
Polished opener “Here I Am Again” is a good indicator of the Siloam sound. In traversing commercial hard rock to AOR territory, it fades in to keyboards and acoustic guitar ahead of slowly building and peaking until rhythm guitar kicks in to back the momentous refrain. Lead guitar and keyboards trade off instrumentally. “Here I Am Again” details Lutes’ past struggles with substance abuse:
Just another battle with my will
One more struggle in my guilt
Lord, I know You’re the way
But this time I will stay
So here I am again one more time
Running from the life that I’ve left behind
Looking for the road that I can’t find
Oh help me Lord, I’m running out of time
“Miss Lizzy” takes the heavier stances with its bluesy hard rock vibe. Guitars play a more consistently forward role, aligning with Hammond B3 to take a rollicking stance reveling in the bustling up-tempo with tight backing vocals and fiery guitar leads to make periodic appearance. Bride from the same period could not have done it better.
First of two customary (and quite good) ballads ensues in “Child Of Mine”. Yes, the song features its share of heartfelt acoustic guitar and keyboards (particularly for the first minute and closing seconds) but also ample doses of ardent rhythm guitar in aligning with the impassioned scene. Of note is Guthrie’s first-rate vocal performance, as his delivery ranges from the smoothly even to the focused and searing.
Back to hard rock territory with “Chemical King (Big Fight)”, an amped up and groove driven piece to highlight a pronounced bass line (noting Everett’s work) and all the keyed up “Big Fight!” backing vocals you could ask. An anthem-like feel resonates from the agile keyboards. Laroche cuts loose with an awesome display of shredding lead guitar in a song talking about the fight against drug addiction:
One day I tried to stand up, hey, something’s wrong
The room looked horizontal, I thought I was gone
Then God showed me what I’d known all along
I couldn’t stand alone… on my own
It’s such a big fight, too big to throw away
What’s it worth, make it work, just hold on one more day
It’s such a big fight, too big to throw away
Don’t go down for the count
The six and a half minute “Eastern Skies” ranks with this reviewer’s choice cuts. First two minutes transition between a ringing telephone with the answering voice providing narration from John 9:4 and offbeat sound effects. Remaining distance proves metal slugfest, with some of the albums more pronounced guitars and brazen soloing combining for the sublime as impetus peaks for the every bit imposing ‘there’s a battle raging under Eastern skies’ refrain. Catchy, cogent and even a little progressive, “Eastern Skies” serves as a showcase for the Siloam abilities.
“Deceiver” starts albums second half with a similar hard rock vibe. Opening to guitars crashing in and out of the mix, it snarls ahead to Lutes’ technical drum proclivities as spoken word delivery leads the way through the intense verse portions and more of the groups tightly woven harmony vocals for the sweeping refrain. Lead guitar continues in a fiercely played direction. In the end, “Deceiver” proves a three-minute explosion of unremitting energy and emotion. Lyrically, it relates directly to a drug pusher:
I’m a big man, you’re so small
Hey man you’ve got nothing, I’ve got it all
I’ve got looks, I’ve got style
Who wouldn’t fall for this million dollar smile
Oh no, your life’s in such a twist
You’re on the road to hell
Oh no, I’ve got you in my fist
But hey, I don’t exist
Oh Lord, my life’s in such a twist
Please save me from the road to hell
Oh Lord, please put me on Your list
I know that you exist
Ballad number two, “After The Fire”, follows with its warmly tinctured acoustic form. A churning keyboard solo carries the first minute prior to momentum slowly drifting ahead calm and gentle until rhythm guitar with an earthly supplants and aligns with the moving scene. Siloam leaves little doubt as to its ability to compose a top-notch ballad.
“Lethal Lady” is first of three heavier pieces to close Sweet Destiny. What we have is a forward hard rocker echoing of the bluesy, intrinsic to open air guitar and drum solo to start only to move its length to full on upbeat emotion as Hammond B3 cleverly decorates the backdrop. Narration at the halfway point gives way to another shredding lead guitar run.
Albums title track owes more to an AOR-ish to melodic hard rock quality ala Guardian as opposed to Stryper or Skid Row. It works, with a left to right channel keyboard solo to start succeeded by verse sections of a slowly moving, thickly woven form (with guitars setting the bottom heavy tone) and refrain on the lighter, freely flowing side (backed by polished vocal melodies). Nah-nah-nah-nah harmony vocals precede the fusion like instrumental section. “Sweet Destiny” is a song of embracing the faith:
I was a wonderer with no direction
I was a wonderer with no place to call home
I was running blind until You made me see
Whoa, sweet destiny
I am a free man, no chains and no shackles
I am a free man with dreams to call my own
I was fading fast when You set me free
Oh, sweet destiny
“Decent Souls” closes the album to its share of variations. At times, it impresses of a ballad, opening its first minute and a half to acoustic guitar and flowing harmonies; at others, it derives of hard rock, as found in the weighty guitars and muscular low end to carry the remaining distance. Added organ serves to tie everything together. “Decent Souls” focuses on the plight of the homeless:
Oh Lord, where have we gone wrong?
To make them feel like they don’t belong
Some decent souls haven’t got a home
Where are all God’s children in the storm?
Newsman tells us all, don’t go out doors at all
Weather’s not fit for decent souls…
People in the streets cry out the same name
Are we doing our all to ease the pain?
People in the streets cry out the same name
Are we doing our all... are we doing our all to ease the pain?
Production to the Image 7 version sounds fine for its issue, but the re-mastering to the Retroactive re-issue takes things to the next level. Outside of increased volume levels to bring the album up to modern standards, fine details better sound out in the form of a more transparent drum sound, crisper guitars and easier to define bass and keyboards.
If interested in a quality melodic metal and hard rock album then look no further than Siloam debut Sweet Destiny. The front to back consistency is in place (noting no skip buttons or filler tracks) along with strengths in the areas of musicianship (lead guitar, bass and drums particularly stand out) and varied lead vocals. Retroactive re-issue with improves re-mastering and packaging makes an already very good product that much better. In the end, if into Stryper, Guardian, Holy Soldier, Angelica and the like then make Sweet Destiny a needed purchase.
Review by Andrew Rockwell
Track Listing: “Here I Am Again” (3:02), “Miss Lizzy” (3:36), “Child Of Mine” (3:53), “Chemical King (Big Fight)” (3:36),
“Eastern Skies” (6:38), “Deceiver” (3:17), “After The Fire” (4:54), “Lethal Lady” (5:03), “Sweet Destiny” (4:29), “Decent Souls” (4:12)
Musicians
Lee Guthrie - Lead Vocals
Tim Laroche - Guitars
Ken Maris - Keyboards
Chad Everett - Bass
Brian Lutes - Drums
Reference List
Arnold, Christy. “Siloam Interview.” Take A Stand (August 1991): 1-2.
Mutillo, Dave. “Amazingly Amazing: Siloam.” White Throne 11 (1992): 19-22.
“Metal Tracks.” Heaven’s Metal 32 (1991): 32.
Endnotes
1. Christy Arnold, “Siloam Interview,” Take A Stand (August 1991): 1-2.
