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Stand in Line
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Stand in Line in Bloomington, MN
Current price: $12.99


Stand in Line in Bloomington, MN
Current price: $12.99
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Size: OS
Here comes cult hero
Graham Bonnet
, this time with
new age
axe-god
Chris Impellitteri
. Given
Bonnet
's history in
Rainbow
,
MSG
, and
Alcatrazz
, the supreme screamer is no doubt used to standing behind fretboard fireworks. But the best moments on
Stand in Line
occur when the man with the iron lungs steps up to the mike: the title track is a searing shot straight out of the
canon, the sweaty
"Secret Lover"
sends lyrics and guitar spiraling heavenward until an all-too-abrupt fade,
"Tonight I Fly"
features a cascading chorus of Hollywood heartbreak that only great
could deliver, and the
James Dean
metal
of
"Goodnight and Goodbye"
makes for a wild ride. On the downside slides one of too many versions of
"Since You've Been Gone,"
the
Russ Ballard
winner which
got right the first time (he also drops a nod to
"Lost in Hollywood,"
a different dazzler from
's dynamite
Down to Earth
). Obviously,
Impellitteri
's running the show, but he almost runs the record into the ground with two excessive and useless
instrumentals
; the dilute update of
"Somewhere Over the Rainbow"
is unnecessary and an affront to the guitar whiz's demographic inasmuch as his blatant attempt to one-up
Ritchie Blackmore
destroyed this disc's commercial chances.
also emulates another of
's axe alter egos,
Yngwie Malmsteen
, by obliterating decent riffs with excessive ornamentation. Plus, the mix is a bit shrill and hollowed-out, a common plague on '80s production. Yet, these are minor gripes exacerbated but ultimately overshadowed by the greatness of the talent involved. When
works, it rules. ~ Whitney Z. Gomes
Graham Bonnet
, this time with
new age
axe-god
Chris Impellitteri
. Given
Bonnet
's history in
Rainbow
,
MSG
, and
Alcatrazz
, the supreme screamer is no doubt used to standing behind fretboard fireworks. But the best moments on
Stand in Line
occur when the man with the iron lungs steps up to the mike: the title track is a searing shot straight out of the
canon, the sweaty
"Secret Lover"
sends lyrics and guitar spiraling heavenward until an all-too-abrupt fade,
"Tonight I Fly"
features a cascading chorus of Hollywood heartbreak that only great
could deliver, and the
James Dean
metal
of
"Goodnight and Goodbye"
makes for a wild ride. On the downside slides one of too many versions of
"Since You've Been Gone,"
the
Russ Ballard
winner which
got right the first time (he also drops a nod to
"Lost in Hollywood,"
a different dazzler from
's dynamite
Down to Earth
). Obviously,
Impellitteri
's running the show, but he almost runs the record into the ground with two excessive and useless
instrumentals
; the dilute update of
"Somewhere Over the Rainbow"
is unnecessary and an affront to the guitar whiz's demographic inasmuch as his blatant attempt to one-up
Ritchie Blackmore
destroyed this disc's commercial chances.
also emulates another of
's axe alter egos,
Yngwie Malmsteen
, by obliterating decent riffs with excessive ornamentation. Plus, the mix is a bit shrill and hollowed-out, a common plague on '80s production. Yet, these are minor gripes exacerbated but ultimately overshadowed by the greatness of the talent involved. When
works, it rules. ~ Whitney Z. Gomes
Here comes cult hero
Graham Bonnet
, this time with
new age
axe-god
Chris Impellitteri
. Given
Bonnet
's history in
Rainbow
,
MSG
, and
Alcatrazz
, the supreme screamer is no doubt used to standing behind fretboard fireworks. But the best moments on
Stand in Line
occur when the man with the iron lungs steps up to the mike: the title track is a searing shot straight out of the
canon, the sweaty
"Secret Lover"
sends lyrics and guitar spiraling heavenward until an all-too-abrupt fade,
"Tonight I Fly"
features a cascading chorus of Hollywood heartbreak that only great
could deliver, and the
James Dean
metal
of
"Goodnight and Goodbye"
makes for a wild ride. On the downside slides one of too many versions of
"Since You've Been Gone,"
the
Russ Ballard
winner which
got right the first time (he also drops a nod to
"Lost in Hollywood,"
a different dazzler from
's dynamite
Down to Earth
). Obviously,
Impellitteri
's running the show, but he almost runs the record into the ground with two excessive and useless
instrumentals
; the dilute update of
"Somewhere Over the Rainbow"
is unnecessary and an affront to the guitar whiz's demographic inasmuch as his blatant attempt to one-up
Ritchie Blackmore
destroyed this disc's commercial chances.
also emulates another of
's axe alter egos,
Yngwie Malmsteen
, by obliterating decent riffs with excessive ornamentation. Plus, the mix is a bit shrill and hollowed-out, a common plague on '80s production. Yet, these are minor gripes exacerbated but ultimately overshadowed by the greatness of the talent involved. When
works, it rules. ~ Whitney Z. Gomes
Graham Bonnet
, this time with
new age
axe-god
Chris Impellitteri
. Given
Bonnet
's history in
Rainbow
,
MSG
, and
Alcatrazz
, the supreme screamer is no doubt used to standing behind fretboard fireworks. But the best moments on
Stand in Line
occur when the man with the iron lungs steps up to the mike: the title track is a searing shot straight out of the
canon, the sweaty
"Secret Lover"
sends lyrics and guitar spiraling heavenward until an all-too-abrupt fade,
"Tonight I Fly"
features a cascading chorus of Hollywood heartbreak that only great
could deliver, and the
James Dean
metal
of
"Goodnight and Goodbye"
makes for a wild ride. On the downside slides one of too many versions of
"Since You've Been Gone,"
the
Russ Ballard
winner which
got right the first time (he also drops a nod to
"Lost in Hollywood,"
a different dazzler from
's dynamite
Down to Earth
). Obviously,
Impellitteri
's running the show, but he almost runs the record into the ground with two excessive and useless
instrumentals
; the dilute update of
"Somewhere Over the Rainbow"
is unnecessary and an affront to the guitar whiz's demographic inasmuch as his blatant attempt to one-up
Ritchie Blackmore
destroyed this disc's commercial chances.
also emulates another of
's axe alter egos,
Yngwie Malmsteen
, by obliterating decent riffs with excessive ornamentation. Plus, the mix is a bit shrill and hollowed-out, a common plague on '80s production. Yet, these are minor gripes exacerbated but ultimately overshadowed by the greatness of the talent involved. When
works, it rules. ~ Whitney Z. Gomes






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