| Musical Style: Melodic Rock/AOR | Produced By: David Zaffiro |
| Record Label: Retroactive | Country Of Origin: USA |
| Year Released: 1989, 90, 92 & 94 | Artist Website: |
| Tracks: | Rating: Varies |
| Running Time: |
Patience is a virtue. A watched pot never boils. Good things come to those that wait. But it’s true, particularly as it pertains to fans of founding Bloodgood guitarist David Zaffiro that have abided for decades to see the four solo albums he recorded between 1989 and 1994 to be professionally re-issued. Enter Retroactive Records, whom in the fall of 2020 re-issued each of the four in the jewel case format to include eight page inserts (noting the work of Scott Waters of No Life Til Metal Graphics) and with upgraded sound quality (crediting re-mastering of Rob Colwell of Bombworks Sound).
Those into the eighties Christian metal scene best identify with Zaffiro for his work in Bloodgood. And rightly so in light of how his deft guitar abilities helped the three albums he recorded with the group, Bloodgood (1986), Detonation (1987) and Rock In A Hard Place 1988), stand apart that much further. Not just in terms of his at times graceful and others flashy soloing, but also reflective of his affection for tight melodies and harmonies, and rhythm guitar that extends into melodic and even traditional metal territory. Yet, all good things must come to an end in that Zaffiro departed Bloodgood in the late eighties to spend more time with his family and launch a solo career.
Artists vision for a solo album dates to the time of Detonation when he had a demo in the planning stages, but it did not come to fruition when out of the blue Jim Kempner of Frontline Records called him to discuss a solo deal. Said demo soon followed and the rest as they say is history. Zaffiro proceeded to record one solo album with Alarma Records, The Other Side (1989), one with Intense, In Scarlet Storm (1990), and two with Frontline, Surrender Absolute (1992) and Yesterday’s Left Behind (1994).
That said do not confuse either of the four with being metal albums along lines of Bloodgood. Yes, Zaffiro brings a similar level of guitar aptitude to his solo material, but he takes his playing in a completely different direction. Rather, artist instead derives from AOR and melodic hard rock (first two albums) and melodic rock to straightforward rock with an acoustic basis (final two). Each also gives him opportunity to unveil his exquisite mid to upper range soulful and gutsy vocal delivery. No doubt, Zaffiro is a natural behind the fret board, but his solo material finds him equally at ease from a vocal standpoint.
The Other Side
I recognize The Other Side as presenting with some of the heavier moments of the four solo releases. At the very least to the extent I see fans of Bloodgood’s most commercial work, Rock In A Hard Place, potentially identifying. Production wise, I always felt the original version to The Other Side came across somewhat thin, which Retroactive re-mastering rectifies in allowing the bigger sound with added emphasis on low end and crisper rhythm guitars.
Said guitars stand out best on albums first three tracks including “Stay” to cultivate a silky smooth AOR essence to see acoustic lacings and airy backing vocals align with Zaffiro’s killer extended guitar solo. Subsequent two mirror a melodic hard rock form, with “I See Red” churning in upbeat fashion with its exhilarated disposition and leading rhythm guitars, and “Where Are You Now” slower in upholding an added bluesy edge but without forgoing the commercial faculties. Of similar quality but in a lighter vein is albums richly orchestrated title track fortified with exquisite keyboards and moving melody as Zaffiro showcases his eloquent vocal abilities.
Also very good is “Diversity”, joining darker, resounding passages with those acoustic to mirror a reflective tone and “To The End”, easy going and casual to start but picking up pace as a lively hard rocker inherent to catchy hooks the rest of the way. On a calmer side are “Only Eyes” and “Spirit Of The Lord”. Former plays up pristine female backing vocals and a bluesy instrumental guitar facet and latter a worshipful frame to see classical keyboards and angelic vocal melodies to hint of The Beatles.
The forward keyboards to the pop-based “Why Me” are laid on a bit thick for my taste, although I like the earthy rhythm guitars and child like backing vocals that bring to mind “See No Evil” off the 1990 self-titled debut from Holy Soldier, of whom Zaffiro produced its first two albums. Likewise, “You” takes a pop heading but also to a fault in that with its mirthful bearing, I find it not to separate from albums remaining material. This is the lone The Other Side track in which I pass.
Final verdict: Despite some unevenness there is too much to like to give a grade less than 80%.
In Scarlet Storm
In my opinion, In Scarlet Storm brings the highest level of consistency and continuity in terms of songwriting and melodic hard rock hooks of the four. Production is quite sound, albeit Retroactive re-mastering improves in providing added doses of polish to better bring out details in the form of cleaner leads, punchier bass and firmer guitars.
Scintillating AOR to “Through His Eyes” begins album to a magnificent low-end bass punch and abiding rhythm guitar to paint a picture of the dignified and astute, while follow up piece “Holding Fast” ups impetus to echo a similar lofty form with a distinguished melody and delicate backing vocals. Albums title track is even better in drawing upon the grand and stately to a wondrous melody and glassy keyboards combining for a symphonic statement. A light progressiveness rises to the surface.
In a pop form but also of quality is ballad “I Wait Alone”, acoustically interwoven for its fanciful verse sections and rhythm guitar alloyed upon procuring the sophisticated backing vocal driven chorus, and hard rocker “Let It Go”, front to back up-tempo with catchy hooks but also allayed by enchanting choirs to make periodic appearance. Credit the artist for imbuing the pair with his refined vocal delivery.
Albums heaviest “He’s Lying To Ya” is lone Zaffiro track to cross the melodic metal threshold. With talented classic tenor guest vocalist Eric Beaver leading the way, song allows a commanding guitar mix and all the eighties commercial hooks you could ask (it could easily have been the tenth song on sophomore Holy Soldier album Last Train). Also of a guitar-based nature is Satriani inspired instrumental “Blue Ice”. Artist of course unveils his full repertoire of licks and chops alongside a surprisingly forward (and flattering) keyboard emphasis.
Side note: Eric Beaver briefly fronted Holy Soldier in between the release of its self-titled debut and Last Train. I should know because in early 1990 I saw the group live in a small downtown Portland club (Key Largo) with Beaver at the vocal helm- and Zaffiro in the audience!
Final two songs are also very good in taking an AOR influenced pop direction, with “The Song” airy and sublime in featuring grainy guest vocalist Joe Pollastrini, and “I Give This Life To You” reticent with its stirring emotional sentiments as albums most laid back and reserved in foreshadowing the mellower musical focus on subsequent releases.
Final verdict: By far the best of the four (in my opinion) is more than deserving of an 85% score.
Surrender Absolute
Zaffiro presents with change on Surrender Absolute. First comes in the form of musical direction, with a new heading towards AOR and adult contemporary rock in which acoustic guitar and piano play key roles. Second pertains to vocals as majority of albums tracks are fronted by the talented Randall Waller, who is better known for his work in Avion and his 1980 Tunesmith Records solo album Midnight Fire.
Album opens to its best song in “Find My Way”, a piano-based ballad bringing to mind Kansas, with the Steve Walsh like vocals of Waller playing no small role in this regard. Other top Waller cuts include albums title track, a joyous union of the buoyantly piano driven and deftly melodic, and “Every Little Thing”, pop focused in taking an acoustic heading in which a jazzy bass line holds sway.
Another favorite is “Calling Out To Me” and not just from featuring a duet between Waller and Zaffiro but also due to giving prominence to one of the albums few moments when rhythm guitar reaches for hard rock territory. It otherwise impresses of another ballad with its abated, contemplative feel.
I also take to Zaffiro’s instrumental numbers. “Silas And Serai” comes across laid back and reserved with its slower, feedback driven tempo and bluesy guitar signatures, while “Attitude” impresses as another Satriani style shredder with its elevated form, technical riffs and extensive melody. “No Long Goodbyes” walks a fine line between the two with its at times atmospheric and others intense soloing focus.
Album also includes three acoustic tracks in “To The Heavens”, “Carousel” and “In A Box” that while no means bad I do not take to. Nothing against acoustic rock - and accept this as a personal taste issue as opposed to quality one - but most acoustic music comes across a bit too bare for my taste and such is the case here (in order to embrace I need it to be acoustic but also something more).
Final verdict: A bit inconsistent but also a lot to appreciate garners a 70% score.
Yesterday’s Left Behind
The acoustic sentiments carry over to Yesterday’s Left Behind but in a slightly heavier and more musically consistent package. Impression with this reviewer is that Zaffiro stretched to the greater extent from a songwriting standpoint. He also takes on majority of vocal duties.
Acoustic rock with a rhythm guitar edge might be best way to describe top tracks “Nobody Knows”, bustling with its spirited proclivity and refuse to go away melody, and “N.L.I.E.”, a straight on rocker innate to tons of low-end groove and catchy hooks to spare. Of note is artists elevated lead guitar on the two.
“Winds Of September” represents albums leading cut, not the least of which being how it is its heaviest (noting the perfect fusing of the up-tempo electric and gritty acoustic) but also features a guest vocal performance from Holy Soldier front man Stephen Patrick. This one would sound right at home on either Holy Soldier album.
The choice musical moments extend to several of albums lighter tracks. “Nothing’s Gonna Stand In My Way” combines ominous backend feedback with one of the catchiest keyboard lines you will hear, while “Where” defines as melodic acoustic rock but with backing vocals giving it a World Music feel.
As always, Zaffiro’s instrumental material is top notch. My favorite is “Bottle Top” from its infectiously upbeat groove to reflect a Country Western twang but interlaced with fiery guitar leads. “Promises” falls under a semi-instrumental heading in that occasional scripture reading weaves with a calmer disposition to comprise airy keyboards and engaging acoustic laced harmonies in abundance.
Of the three remaining songs, I am best inclined to albums title track with its soulful flair in highlighting distant traces of rhythm guitar and “I Welcome The Rain” in playing up an uplifting form with a lush melody and electric feedback joining the acoustic. “Waiting Through It” is lone song in which I pass from not straying outside the acoustic boundaries.
Final verdict: By exceeding all expectations and proving acoustic material can be creative, relevant and clever, album delivers that ‘something more’ in question and leaves me no other option than to assign an 80% grade.
Summary
Zaffiro covers a great deal of musical territory on his four solo releases, ranging from melodic hard rock to AOR to blues to straight on rock to instrumental music to even Country Western. Much of it works exceedingly well and that I tend to pass strays outside my musical boundaries, which do not often include straight up acoustic music. That said, artists performance and production duties are more than up to standard, with the choice guest vocalists lending further value. If a Bloodgood fan and are not familiar with artist’s solo material, then The Other Side and In Scarlet Storm are good places to start; those with a mellower side are encouraged to check out Surrender Absolute and Yesterday’s Left Behind. Overall, credit Retroactive for making the four Zaffiro solo releases available again in such a highly upgraded form with improved packaging and sound quality.
Review by Andrew Rockwell
Track Listing (The Other Side): “Stay” (4:00), “I See Red” (3:23), “Where Are You Now” (3:37), “Why Me” (3:58), “The Other Side” (6:19), “Diversity” (4:43), “You” (3:12), “To The End” (4:28), “Only Eyes” (3:40), “Spirit Of The Lord” (4:52)
Track Listing (In Scarlet Storm): “Through His Eyes” (4:24), “Holding Fast” (4:08), “He’s Lying To Ya” (3:46), “In Scarlet Storm” (4:15), “I Wait Alone” (3:58), “Let It Go” (4:39), “Blue Ice” (4:23), “The Song” (3:39), “I Give This Life To You” (4:15)
Track Listing (Surrender Absolute): “Find My Way” (4:03), “To The Heavens” (4:14), “Carousel” (4:14), “Silas And Serai” (5:15), “In A Box” (4:04), “Attitude” (3:56), “Calling Out To Me” (4:47), “Surrender Absolute” (3:57), “Every Little Thing” (4:16), “No Long Goodbyes” (5:01)
Track Listing (Yesterday’s Left Behind): “I Welcome The Rain” (4:00), “Yesterday’s Left Behind” (3:37), “Waiting Through it” (3:59), “Nobody Knows” (4:16), “Bottle Top” (4:19), “N.L.I.E.” (4:10), “Winds Of September” (6:04), “Promises” (4:52), “Nothing’s Gonna Stand In My Way” (4:59), “Where” (4:35)
