Lion
Trouble in angel city

I have a broad outlook on the American scene (with a turn in L.A.) of the '80s and '90s. Therefore, I review even the more ostentatiously pompous genres compared to street/glam. Genres that for technical quality are top of the class. In fact, I am here to present or remind you of the proud deeds of people who, when they went to the hairdresser, it took a week to style all four of them.

The four manes belong to the Lion, standard-bearers of the melodic Californian heavy metal of the eighties. Known mainly for the guitarist Dough Aldrich, who had a successful career in the classic rock/metal and hard rock savanna, becoming part of the musicians of Dio (not a congregation, but those who have played with Ronnie James) and of the Whitesnake, and for the impetuous and handsome singer Kal Swan (Does Geoff Tate ring a bell?), the Lion were a band that made its mark in magnificent grand style, gifting us three textbook albums of music, of which this is the final one of the trilogy. Release year 1989.

The musical formula is not genius. They simply did 1+1+1+1+1=5. Vocals, guitar, bass, drums, keyboards = music (the keyboardist was a session man). But the specific weight of each single 1, well, this needs to be evaluated to understand the actual volume of the musical mass that the Lion presented to the world. A collection of solos that all convey the idea of the professional musician, the "L.A. Lions" produced 10 tracks of rare beauty, of which the only flaw was precisely the manic professionalism, the extreme care of every detail, starting from the sound, of these that are nevertheless 10 plastic sculptures of class/pomp. A typical example of a paradox of those who put method and criteria into the things they do, but a bit forget the soul. Or maybe it's just me who really can't see it.

Trouble in angel city (I have it on tape!) or on tape! but every detail starting from the sound of these which are anyhow 10 suhas even an ideal duration, it leaves you time to be appreciated without boring you, developing a theme with simple but composed contents, second by second, with the best musical lexicon. There are opening thunders, non-syrupy ballads of class (not seeking romantic shores here, rather a sort of self-closure, self-exclusion emerges), a cover like "Lock up your daughters" by Slade, which gives the album a vigorous lash starting with Swan's elegant and frowning scream, continuing on a riff that was a precursor of much and much music that would soon make its way.

Aldrich's work is truly remarkable. In his alcove, there must have been only guitars! The solos are long and well-structured like vintage wine. You can hear it very well also in "Victims of circumstance", a track that remains memorable like those distributed over more than the first half of the album. The guitarist in question closely resembles the early Vito Bratta, but he has on his side a less uncertain and well-calibrated production.

"Lonely girl" is the penultimate and insignificant acoustic piece (this one, yes, they could have done without it) of the record, placed before the academic and majestic "Forgotten sons" which seals the album and the career of the Lion. Overwhelming riff, memorable solo, voice finally aggressive and lightly posed, epic tone, and acoustic finale mark the first full-bodied intervention of the band which, closing in this way, leaves a great memory of itself.

What to say. You can't speak badly of an album that is classic to the point of unbelievable, not very creative but highly noteworthy because it was published by a band that, in my opinion, is fundamental. If the future generations in this case are represented by me, then the verdict isn't difficult. A deserved 4 for Trouble, a 5 for the career.