| Musical Style: Progressive Hair Metal | Produced By: |
| Record Label: Independent / Roxx Records | Country Of Origin: USA |
| Year Released: 1991 / 2019 | Artist Website: |
| Tracks: 11 | Rating: 80% |
| Running Time: 55:33 |
About a third of the way through my first listen to the May of 2019 Roxx Records re-issue to the Traxter 1991 full length debut Rock N’ Race, I thought ‘Wow, there is much more going on musically to the album than meets the eye’. Perhaps due to false expectations, but when factoring the period in which Rock N’ Race saw release, I anticipated Traxter being yet another in what amounts a long line of pop to glam to hair to melodic metal and hard rock bands to have come from the era. Yes, I enjoy such musical leanings as anyone and no doubt they influence the Traxter sound, but go beneath the surface and you will find the group branching beyond ‘three-and-a-half-minute-bubble-gum-pop-songs-covered-in-hard-rock-frosting’. Specifically, it revolves around how Traxter imbues its songwriting with some unexpected but decided progressive undercurrents, which is next to unheard of from a band tracing its origin to the time.
No doubt ‘progressive hair metal’ might seem an oxymoron but it applies in light of how Traxter extends nearly half the Rock N’ Race material into six to seven minute territory with the technical and intricate underpinnings to match. When further factoring how guitarist and lead vocalist Terrance Steven Fisher brings a gritty and raspy touch not unlike Jamie Rowe (Guardian) and Larry Worley (Fear Not) but with muscle akin to Scott Wenzel (Whitecross), it would not be out of line to describe Traxter as Whitecross on progressive steroids. Regardless, the Bakersfield, California four piece - to also include drummer Darrin Lee Kirkindoll, bassist Bobby del Rey and second guitarist Leonard Bennett - deserve credit for how it approaches the melodic metal and hard rock segments in such an outside the box manner (those that think of the group as a ‘blend of Rush and Guns N’ Roses have the right idea!).
The Roxx Records re-issue, a one time pressing of 500 CD copies, is crucial when factoring how Rock N’ Race (independently released back in the day) turned into a hard to find and pricey collectors item. Upgrades come in the form of re-mastering (Rob Colwell of Bombworks Sound), updated cover art, design and layout (Scott Waters of No Life Til Metal Graphics) and a previously unreleased live bonus track in “Lovin’ Star”.
Album opens to its lone misstep in “Holy Rockin’”. Despite not being bad musically - it is a medium good hard rocker with a decent hook and heavyset backing vocals - it is difficult to see beyond the cheesy title and corny lyrics: ‘till I leave, we’re holy rockin’, till I say bye, bye, go and be with my Lord’. That said, I also feel it is fair to cut the guys some slack, at least when factoring how Barren Cross made the point to “Rock For The King” and The Messiah Prophet Band exhorted the listener to “Rock The Flock”. Rage Of Angels went so far as suggest it had to “Rock For The Rock” and that it had a specific “Reason To Rock”.
Rock N’ Race brilliance begins with second cut “Mr. Love”. First of the seven minute numbers, it proves abounding groove driven with punchy bass and overflowing harmonies setting the concise mid-paced tone, but despite the length it fails to wear thing when factoring quite the affluent melody. It also thrives instrumentally, affirmed in the opening two-minute instrumental build and mid-point break to feature lavish guitar harmonies. Do I detect a faint hint of Lovewar? Lyric snippet:
He always leads the way
He tells me that each day
He knows when things are tough
I call Him Mr. Love
I know a little trouble
Yes, a lot a little trouble
Double trouble sends trouble my way
But love’s solid rock is holding ground
“Turn And Face” might not be as lengthy at four minutes but is every bit good. It opens to distorted vocals ensued by plunging bass and the resurgent riffs to uphold its distance, churning for its verse sections as bass recoils back into the mix but also upraised upon acquiring the fervent (and very catchy!) ‘change your course, turn and face the Lord Jesus’ refrain. Musically, this one speaks of prime Whitecross.
As its title implies, “Come To Open Arms” is a ballad, and a fantastic one at that. Second of the albums seven minute pieces mirrors the solemn and wistful, maneuvering its distance between moments both calm and light (to see reticent guitars and soaring feedback) and others pointed and heavy (to find guitars elevating into hard rock territory). All the while Terrance Steven Fischer shines with his complementary moving vocal style. Not unlike “Mr. Love”, a plentiful melody allows “Call To Open Arms” to bear up under repeat play. Lyric snippet:
Seems like the prodigal son
Takes all the money and make the big run
But you find yourself falling again
Please remember Jesus is there,
And He don’t want you lonely no more
“The Flight”, a two-minute instrumental carried by tranquil guitars with a classical feel, gives way to “J.S.N.”, with the impression of one song to combine for seven minutes of music as opposed to two. I identify with “J.S.N.”, standing for ‘just say no’, as a grainy hard rock with a bluesy slant, also trending the mid-tempo in giving prominence to a conclusive low end and shouted backing vocals adorning the curt refrain. Of note is the soulful vocal performance.
A return to the up-tempo, “Honest Report” flows with its bouncing rhythm and groove underpinnings in yielding some of the albums catchiest hooks: I dare anyone to keep the ‘love round the world’ refrain out of your head with repeat listen! Of equal note is how the vivacious timekeeping of Darrin Lee Kirkindoll further elevates the overflowing energy. Striper at its best couldn’t do it better. Lyric snippet:
I know a love seeks out the souls of men
This kind of love there seems to be no end
Sacrificing a dear one on the cross
Won’t never, never double cross
And I’m hungry for love
Jesus kind of love
Love round the world
I know this love, it changed my heart one day
The technical metal to “Evil Day” points towards Barren Cross or Haven. It stands out with its tightly woven riff focus and galloping rhythms, making more of an incisive statement as opposed to commercial or accessible. Blinding harmonies carry the instrumental moments. Lone complaint is that the heavyset backing vocals end up a bit thick, but otherwise a solid if not unremarkable effort.
Better is six and a half minute “The Day”, another ballad of the earthy and poignant variety, which drifts its length in sovereign fashion in exuding the more substantial heavier rocking edge in comparison to “Come To Open Arms”. Interestingly, the layered vocal melodies (adorning the resplendent refrain) have somewhat of a Euro power metal feel to them ala Blind Guardian. Perhaps I am out of sorts in this regard, but it also serves to support my impression there is more to Traxter than meets the eye, or at the very least was ahead of its time musically. Lyric snippet:
Someday you say is your time to be found
And someday you say you got time
For that small voice’s sound
Today the Lord calls out to you
And today tell me which you will choose
A blessing and a curse is set before you
And no one can tell you what to do
But please choose life today!
What better manner in which to end the album than the groups seven minute instrumental signature track. Let’s face facts: unless you were playing ‘guitar shred’, instrumental music tended to be overlooked back in the day, particularly songs lengthy as “Traxter”. Imagine, for instance, it is the mid-eighties and Michael Sweet, having picked up his yellow and black suit from the drycleaner earlier that afternoon, shows up to the rehearsal studio and announces to the Striper guys, “Hey, on our next album we’ll be recording a seven minute instrumental’. Jaws would drop, heads would shake, eyes would roll, label executives at the Enigma Records corporate headquarters would be passing out… I’m sure you get the point.
Musically, it merges seventies influenced hard rock nuances with some of those as noted eighties guitar shred overtures. It works beautifully, in that unlike some instrumentals, it does not come across forced or robotic, but rather exuding passion and emotion, which attributes to the majestic guitar harmonies that flow its length. At a moments notice, however, it can descend into periodic runs to feature soloing of a jazzy to searing form or slow to passages that silkily flow to guitars of a reticent nature. Quality is such I find it every bit essential to the track listing as the vocal material.
As for the bonus live track “Lovin’ Star”, it is difficult to comment on specifics due to the muddiness of the recording, but it comes across as another groove impelled hard rocker with a catchy hook and forward tempo. Track time is if a more normal four minutes. If give the full studio treatment, it would fit in nicely on Rock N’ Race.
It might be accurate to describe Traxter as melodic metal/hard rock band imbued with decided progressive undercurrents. No, the group might not warrant comparison to Neal Morse or Dream Theater, but the progressive label is not misplaced all the same. That said, set aside genre classification and it comes down to whether or not the music is any good, and I have to answer with a resounding yes! Rock N’ Race is full of so many great songs: “Mr. Love”, “Turn And Face”, “Come To Open Arms”, “Honest Report”, “The Day” and “Traxter”, with lone potential misstep the contrived “Holy Rockin’”. Final verdict? Pick up the Roxx Records re-issue before it also goes out of print and turns into a hard to find collectors item.
Review by Andrew Rockwell
Track Listing: “Holy Rockin’” (3:54), “Mr. Love” (7:20), “Turn And Face” (3:44), “Come To Open Arms” (7:36), “The Flight” (1:45), “J.S.N.” (4:54), “Honest Report” (4:55), “Evil Day” (4:23), “The Day” (6:20), “Traxter” (6:54), “Lovin’ Star” (bonus track) (3:48)
Musicians
Terrance Steven Fischer - Lead Vocals & Guitars
Leonard Bennett - Guitars
Bobby del Rey - Bass
Darrin Lee Kirkindoll - Drummer
