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██▌ Artist...: Jack Starr ░▐██▌
░▐██ Album....: Out of the Darkness ░██▌░
▓▐██ Year.....: 1984 ▓▐██▓
▓▐██ Rel.Date.: 2020-12-08 ░▐██▓
▐██ Genre....: Heavy Metal ██▌░
░ ██▌ Label....: Music For Nations ██▌
▐██ Source...: CD ▐██
░▐██▌ Type.....: Album ▐██▌░
▓▄████ Quality..: VBR, 44.1kHz, Joint Stereo ████▌░
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1. Concrete Warrior 4:15
2. False Messiah 5:38
3. Scorcher 1:50
4. Wild in the Streets 2:40
5. Can't Let You Walk Away 4:21
6. Chain of Love 3:26
7. Eyes of Fire 2:47
8. Odile 4:41
9. Let's Get Crazy Again 3:23
10. Amazing Grace 1:31
------
34:32
Out of the Darkness is the first solo album by the American guitarist
Jack Starr, originally released in 1984 through Passport Records in the
USA. Solid heavy metal in an american way.
Jack Starr's solo debut - and also Rhett Forrester's first post-Riot
outing - is an absolute barnstormer, and a criminally overlooked 1980s
metal classic.
In 1984, with musical differences arising with his own band, Virgin
Steele, and soon to prompt his departure from that outfit, hotshot
shredder Jack Starr crossed paths with larger-than-life frontman Rhett
Forrester, who had himself recently been left jobless by the sudden
disintegration of legendary New York hard rockers Riot. Quickly
establishing a friendship, the pair decided that it was time to record
what would become Starr's solo debut, and duly enlisted the services of
two-thirds of local heroes The Rods, in drummer Carl Canedy and bassist
Garry Bordonaro.
Let it be known that the product of this collaboration is an absolute
barnstormer of an album. Opening with the absolutely hair-raising
"Concrete Warrior", it quickly becomes apparent that while the musicians
involved were known quantities to varying degrees, Out of the Darkness
is a high-water mark for all of them. Forrester belts out a tailor-made
lyric with devastating conviction, Canedy whacks his kit like it owes
him money, Bordonaro keeps perfect pace with the assault, and Starr
simply plays like a man demonically possessed. Speedometer and
seismometer alike are both pegged into the red from the get-go, but
Starr really opens the seven gates of Hell two minutes into the song
with what is already the second of many jaw-dropping lead breaks on the
album; needless to say, the standard of guitar playing is mind-blowing,
and Starr's phrasing and ear for melody not only are first-rate, but
also matched by his ability to lay waste to all comers in the speed
stakes and cram every last available space with wild fills.
The album settles down as it rolls into the march of the excellent
"False Messiah", whose verse riff is a sly wink at Michael Schenker's
"Attack of the Mad Axeman", and which finds Forrester sounding more at
home as the tempo slows. When it comes time for Starr to step up for yet
another head-spinning solo, though, things kick up a gear as Canedy
deploys his double-bass technique to match the intensity of the
fretboard fireworks. Still, not even those can match the following
"Scorcher", a brief unaccompanied Starr shredding showcase, and one of
two instrumentals on the album. The four-on-the-floor strut of "Wild in
the Streets" places Forrester firmly in his comfort zone, home to past
Riot triumphs such as "Hard Lovin' Man" (the scorching opener from
1982's Restless Breed album), and just as Forrester did on those tunes,
both him and Starr deliver performances so utterly unparalleled in their
swagger, it's easy to forget it's the shortest song on the album.
Meanwhile, side one is closed by the stunningly mature, sap-free
balladry of "Can't Let You Walk Away", which sees both Forrester and
Starr pouring their hearts and souls into it, and the former's gospel
influences coming to the fore.
The second side begins much as the first did, going straight for the
throat with the speed metal one-two punch of "Chains of Love" and "Eyes
of Fire"; again, Starr shreds, Canedy pounds and Forrester growls to
perfection. With complete sensory overload having been guaranteed by
this point, Starr and company step off the accelerator completely for
"Odile", a gorgeous blues instrumental which, with its prodigious guitar
pyrotechnics, is very much along the lines of what Gary Moore would do
years after Out of the Streets was released. The album closes in decent
fashion with the party-hearty "Let's Get Crazy Again", an ode clearly
penned with Forrester in mind, and one which also sees a wildcard
appearance by original Rainbow and Elf drummer Gary Driscoll.
Unfortunately, it's over all too soon: in what is perhaps the album's
only noticeable flaw, it is merely just under 33 minutes long, with 26
and a half comprised of actual songs.
Still, make no mistake: Out of the Darkness is an inexplicably lost
classic which deserves to be ranked among the greatest
shredder-meets-screamer efforts, wherein the likes of Graham Bonnet's
collaborations with Yngwie Malmsteen, Michael Schenker, Chris
Impellitteri and others reside. All of the musicians involved with this
album - with the exception of Driscoll, given his untimely death three
years later - would go on to make more great albums, but nothing quite
like this one; for there are mere collaborations, and then there are
matches made in heaven. Out of the Darkness is undoubtedly a case of the
latter, and is therefore not only recommended to all metal fans, but
absolutely essential for devotees of Rhett Forrester, Jack Starr, The
Rods, and shred guitar in general.
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