| Musical Style: Melodic Metal/Hard Rock | Produced By: |
| Record Label: Ocean Entertainment/Retroactive | Country Of Origin: |
| Year Released: 1995 / 2022 | Artist Website: |
| Tracks: 11 | Rating: 85% |
| Running Time: 54:19 |
There’s a sense of familiarity when listening to Dying To Live, the 1995 Ocean Entertainment sophomore album from Siloam. It shares a comparable commercial metal and melodic hard rock affinity as the group’s 1991 Image 7 debut full length Sweet Destiny while branching out into similar radio friendly AOR, blues based hard rock and traditional ballad territory. Every bit analogous is the occasional groove to funk like rock moment and even the periodic leaning to lightly done progressiveness.
Despite switching front men from Lee Guthrie to Brent Millsop, lead vocals continue to head in a high-end with intermittent tinges of middle-register grit direction that bring to mind Sonny Larsson (XT, Motherlode). Additional turnover consists of guitarist Marshall Zacharias replacing departed guitarist Tim Laroche and keyboardist Ken Maris. Returning is founding member and drummer Brian Lutes, whom recruited holdover bassist Chad Everett subsequent to a dream he had of being involved in a band called Siloam (moniker derived from John 9:7).
It deserves note Lutes comes from a streetwise background but came to the faith after nearly dying of a drug overdose. He later returned to the streets to work with kids and relate the Gospel to them in a creditable manner; hence, the mission of Siloam. Specifically, the Siloam lyrics and songwriting are testimonial and stem from Lutes’ experience working with kids.
Not unlike Sweet Destiny, Dying To Live went out of print and turned into a hard to find collectors item. Enter Retroactive Records, who in June of 2022 re-mastered (courtesy of Rob Colwell of Bombworks Sound) and re-issued Dying To Live on jewel case CD. Upgraded packaging to consist of a 12-page expanded booklet with lyrics and linter notes in an easy to read font attributes to Scott Waters of No Life Til Metal Graphics.
The Ocean Entertainment version sounds fine for its era, but the Retroactive re-mastering results in a more polished sound to bring the album up to modern standards: low end stands out thicker and fuller (noting the cleaner mix of bass), while guitars reflect added edge and bite (leads come across better defined).
Album opens to hard charger “Apathy” to see a high-energy tempo and every bit expeditious bass converge with Millsop’s immaculate classic tenor voice to mirror an emotional edge. Dogged hooks reveal in the process, as does an instrumental run slowing to ethereal feedback that gives way to Zacharias’s shred lead guitar. I cannot help but be reminded of Holy Soldier. Lyric snipet:
Can you hear it ? It's a cry so often misunderstood.
The streets are living, I hear them calling,
They're made of flesh and blood.
Names forgotten, eyes so hollow, like orphans on the run.
It's a cry you can't hide from.
It stares you in the face !
Apathy ! The Lord's made the problem so plain to see.
This world is dying from... Apathy !
“Daddy’s Little Girl” starts to open air bass prior to morphing into a boogie-flavored metal piece along similar lines as Stryper and Van Halen. A more aggressive touch impresses compared to “Apathy”, manifest in rhythm guitar to snarl in bristling fashion and refrain to touch upon the vehement (not to mention an overriding catchiness). The precise bass work of Everett in particular stands out.
Albums title track is a classy melodic hard rocker emanating a Guardian like AOR vibe to see burnished keyboards elevate and pristine vocal melodies command the glistening scene. The uplifting momentum is undeniable as the buoyant tinctures not to mention grainy feel to vocals refuse to depart with repeat play. “Dying To Live” proves you can be commercial but relevant at the same time.
First of three ballads “Pain Inside” is a good one. Acoustic guitar and keyboards at the start soon join with rhythm guitar to make a hard rock ballad statement, the moody scene elevated by the moving momentum as a melody rises to the surface reminding of that to the Damn Yankees hit “High Enough”. Closing the album is a keyboard based ‘Enya’ version to “Pain Inside”. Lyric snippet:
Rushing waters pound the ramparts of my heart,
Shaking my foundation, tearing me apart !
Will I fight to the death, thinking I might win ?
Or, will I lay down my shield and let You in ?
Why do I hurt You then hide from Your face ?
How can You love me in the midst of my disgrace ?
I've spent my life searching for love that is true.
But I never needed love like I need You !
Melodic hard rock territory returns with “Home Comin’”, a varied cut to feature prodigious doses of refinement found in the layered vocal melodies decorating throughout but also home to a bluesy veneer revealed in the earthy tinctures to the rhythm guitar tones. Yes, the song presents with its share of contrasts but it works, sort of like a more commercial version to early nineties Bride.
“Brand New Man” shines with its accessible hard rock bearing. It jump starts from the get go, brimming of energy in giving prominence to non-stop hooks as fitting doses of AOR laced keyboards build upon the regal scene. The high-strung lead guitar is every bit focused. Lyric snippet:
Dream on, sisters.
There's a light in your eyes, you're closer than you realize.
Press on, brothers.
Take the hand of the Man who'll take you to the Promised Land.
Life ended before it started.
Mom gave me away to the gypsies.
Dad sold me into slavery.
Life was rough when Jesus called my bluff !
Now I am a brand new man !
Second ballad “Tender Heart” approaches from the lighter and heavier sides. In terms of former, it includes ample doses of lounge style keyboards and lush vocal melodies; from standpoint of latter, it also makes room for copious portions of hard rock guitars, particularly for the deeply woven refrain. Whereas the song is somewhat overdone for my taste in terms of the overt refinement, it is good nonetheless.
“My Pal Judas” delivers the groove underpinned and funk flavored goods. With prodigious bass leading the defiant way, the song prioritizes deeply set “big lies” backing vocals - to remind of Sweet Destiny track “Chemical King (Big Fight)” - alongside a mirthful form while not backing from the Siloam trademark hard rock underpinnings. No doubt, this one is outside the box but also reflects the group’s versatility.
Sound of a thunderstorm appropriately opens “Lost In The Rain”. Moving forward song turns into an acoustic rocker until rhythm guitar bursts forth to make a classy melodic hard rock statement, issuing forth abundant vocal melodies and the commercial hooks to go in hand. A slower passage at the halfway point settles down to piano ahead of “Lost In The Rain” makes an abrupt transition to a vigorous instrumental interlude. Lyric snippet:
Passed by a church, they were preaching revival.
Sat back row, felt my life was on trial.
Words that cut deep like a surgeon's knife.
My sin is a cancer that devours my life.
Freedom's never found on the run...
Got a longing inside...
Words that cut deep like a surgeon's knife.
My sin is a cancer that devours my life.
Freedom's never found on the run...
Got a longing inside...
That calls me back to You !
At just under ten-minute, “Welcome To Despair” is albums longest but no need to worry in that Siloam is not turning into Dream Theater but rather strategically joins several songs together to form a unique whole. First four comes in the form of a ballad that mixes piano with riveting guitar to embolden the heightened melody, while second covers the subsequent four as a heavy hitting melodic metal piece in which tempo elevates as Millsop reaches down for some heartfelt soul to his delivery alongside Gospel influences backing vocals. As song reaches its close, impetus slows as ballad territory revisits. Lyric snippet:
Lord, this world needs a savior !
Salvation's price is too high for them to pay.
Lord, come back, come back now to stay.
We'll never make it to Judgment Day.
I've heard of hell on Earth,
But never thought I'd wind up there.
Before I close my eyes at night when I lay down for my rest,
I look up to the heavens... and I ask for all God's best.
If Stryper had reunited in the mid-nineties to record a comeback album, impression left is Dying To Live would be an accurate indicator of the results. Yes, in my opinion it is that good, or at the very least the equal of Sweet Destiny in terms of songwriting and production. Whereas Siloam experienced turnover between albums, newcomers Brent Millsop and Marshall Zacharias more than hold their own as replacements to complement Brian Lutes and Chad Everett. If interested in ten quality eighties influenced melodic metal and hard rock cuts (eleven if you count the ‘Enya’ version to “Pain Inside”) I strongly encourage making the Retroactive re-issue to Dying To Live a priority.
Review by Andrew Rockwell
Track Listing: “Apathy” (5:38), “Daddy’s Little Girl” (3:34), “Dying To Live” (4:00), “Pain Inside” (4:36), “Home Comin’” (4:15), “Brand New Man” (3:46), “Tender Heart” *4:44), “My Pal Judas” (4:24), “Lost In The Rain” (5:02), “Welcome To Despair” (9:41), “Pain Inside” (Enya version) (4:40)
Musicians
Brent Millsop - Lead Vocals
Marshall Zacharias- Guitars, Banjo, Sitar & Kazoo
Chad Everett - Bass
Brian Lutes - Drums
