Dokken
Back For The Attack

The 1987, but more generally the second half of the 80s, is the year in which that musical phenomenon, always a generator of controversy but also of myriad fans like Heavy Metal, is already established worldwide. Established, as well as having branched into its early extreme forms that were decidedly far from the pre-set standards by the British veterans (we know who they are); in fact, genres like Speed Metal, Thrash, and the newly born Death and Black Metal were beginning to broaden the horizons of the entire genre, which absolutely couldn't remain confined to its classic patterns but needed something even more impactful or at least aggressive and fast. If the genre was born, spread, and mainly developed in England, yet still in its traditional forms (the Hard n Heavy of the 70s and the NWOBHM of the early 80s), in the States, the so-called "revolutionaries" of this phenomenon manage to stand out, that is, hundreds of bands that were born between the first and especially the second half of the eighties with the purpose of racing to see who was faster and more "bad". Thus, learning the lessons from Motorhead, Judas Priest, Venom, and Saxon (etc.), and reworking it all with some "blazing" guitars, simple riffs decidedly inspired by Punk, rough productions, and double bass drum as if it were raining: these were the intents.

But simultaneously with this need to "extremize," another phenomenon, exactly opposite, takes hold and becomes all the rage, known as Hair Metal, also called "Gay Metal" by the chronic enthusiasts of the 180 bpm or by those who eat Grindcore even at snack time. The bands belonging to this category (actually, I don't consider it a proper genre) feel the need to dress hideously or heavily makeup (as if they were trans) partly to provoke, partly to shock the right-minded or simply to remain more memorable in the minds of fans. Another peculiarity characterizing such bands is the lyrics, almost all with a sappy, love-oriented taste, almost nauseating, with often faux romantic titles (used to hide wild sex texts). Such factors allow these bands to distance themselves from the attitude and themes of more traditional Heavy Metal while being quite tied musically to it—to be more accessible to the masses. After such premises, mainly regarding aesthetics and thematic content, I can continue by saying that whether you call it Glam rock, Hair Metal, Pop Metal, or AOR (Adult Oriented Rock), in the end, it doesn't make much difference; it's just a matter of nuances. All these terms identify the more melodic/catchy or commercial segment, if you will, of the Hard n Heavy movement (be it Rock n roll or Heavy Metal). Thus, under the necessary influence of Alice Cooper, but especially of the Kiss (both precursors), bands like Twisted Sister, W.A.S.P, Motley Crue, Def Leppard (only from Hysteria onwards), and the Dokken in question emerge.

Damn, I never realize that I often waste too much time on general overviews of the genre's history, but it's something that comes to me unconsciously. Well, anyway, after having thoroughly bored you with the introductions, let's return to the year 1987 where the Dokken give birth to their fourth endeavor, this splendid Back For The Attack. Directly from Los Angeles, the Dokken, led by the charismatic singer Don Dokken, are rightly considered as one of the most representative bands of the classic Heavy Metal made in the USA, along with other equally great companions like Savatage and Riot. To birth an album like this, it took two years of commercial inactivity after a remarkable tour de force of three albums released one each year: the still immature debut Break The Chains (1983), the first masterpiece Tooth And Nail (1984), and the decent Under Lock And Key (1985).

With this Back For The Attack they definitively reach the stylistic pinnacle of our guys. The quality level of the tracks is brought to the highest levels here and every part is essentially meticulously detailed, perhaps in a truly maniacal way, so much so that it becomes an extremely refined and classy album. The perfect synthesis of melody, power, and elegance is really spot on, decidedly more than in previous works. The only relatively negligible defects are the excessive duration (over 60 minutes) and the presence of some tracks a bit too radio-friendly and "commercial-like" such as So Many Tears or Cry of the Gypsy, an issue that, however, is necessary to accept, considering that it is the main characteristic of Dokken and one must get used to it, knowing that after an aggressive and powerful track, the slick and sappy piece may suddenly arrive up to the point of nausea. Although in truth, the extraordinary opener Kiss Of Death could decisively contradict, but what am I saying, annihilate everything I stated earlier. It is truly a track you would never expect from Dokken: riffs as sharp as a scimitar come from the sole guitar (rhythm and lead) played by George Lynch, which truly leaves you stunned, considering the fact that a single guitar can give life to such a display of mastery. The strums generate riffs that are damn Heavy Metal with a capital H, enriched by dizzying harmonics that contribute to making everything more metallic. Don Dokken instead goes more delicate with his usual voice definitely not aggressive, but elegant and capable of creating choruses that make you want to sing at the top of your lungs. Kiss Of Death is the song worth definitively listening to the entire album, but a mention should also be made for Night By Night with a very catchy, but simply fantastic, easy-to-grasp chorus with perfect backing vocals (drummer Mick Brown and bassist Jeff Pilson are also the two back vocals). Here is underscored the importance and charm of the night, where daily responsibilities, anxieties, and paranoias of routine disappear, where there is no time to sleep, because there arises the need to run free in the grip of a burning fever, to unleash that restless and healthy need for Rock n Roll that during the day is precluded, under a dreamlike scenario of artificial lights that illuminate but without dazzling the cities, club signs, highways, or the stage where the band plays.

The sonic violence returns with the instrumental Mr. Scary, a sharp track where the guitar, once again, reigns supreme over everything and everyone, reconnecting to the style of Kiss Of Death. Another factor I forgot to mention is the recording of the work, absolutely clean and impeccable; indeed, no instrument overrides the other; everything is perfectly amalgamated. Also great is Stop Fighting Love, quintessential Dokken (in this case Dokkenian "Dok") in its usual formula: arpeggios, powerful riffs, melodic choruses, choruses to sing with pride, and masterful solos. But perhaps it is Dream Warrior the song of the album that most contributed to increasing the fame of the group; a track also used as a soundtrack for the film Nightmare III from which a music video was taken.

Ultimately, I consider Back For The Attack the masterpiece of Dokken, as surely understood. To be listened to mainly if you are curators and enthusiasts of Heavy Metal in its various forms, also because, let's say it, we are not faced with anything revolutionary per se, in the sense that it neither innovated nor introduced anything fundamental. Instead, it is objectively the fact that on the quality level, it's one of the last examples of traditional Heavy Metal done as it should be; thus, its artistic value is certainly unassailable. Obviously, if you have the prejudice of thinking that all bands classified as Hair Metal are composed of incapable sissies, keep away from Dokken regardless, even though, as I specified at the beginning of the review, Hair Metal mainly indicates an aesthetic tendency and influences less on the musical level. Dokken are primarily a Heavy Metal band, however, the references to AOR or more radio-friendly Glam are certainly evident, and you would do wrong to expect a band along the lines of Saxon, Venom, or Accept. In fact, bands like Dokken, if I had tasted them two years ago, I probably would have vomited instantly. It was the period where I listened to Thrash Metal even while sleeping, and discovering the most underground bands was routine. Luckily, over time I have broadened my views a bit while always staying in Metal, and if I managed to appreciate them, even a maniac of Depressive Black Metal could.

Having said this, let's contribute to keeping Heavy Metal and the old school alive. Ave.