The Darkness
One Way Ticket To Hell... And Back

THE REVIEW

Returning to the scene after two years in which a group's debut achieved notable success not only in Europe but also in the United States, with a respectable album, is not easy for anyone. The tension is sky-high, the press and the public are ready to send you to hell or to the music Olympus of that decade. Instead, The Darkness is ready to take both paths simultaneously with an album titled “One Way Ticket To Hell… And Back” improving their sound by adding strings and removing some of the excess guitars that characterized their first album, and crafting 10 good tracks. The production department has also improved. In fact, legendary Queen producer Roy Thomas Baker was hired. Additionally, there is a lineup change: bassist Frankie Poullain was fired from the band and replaced by Richard Edwards. But let's get to the music.

The CD opens with “One Way Ticket,” preceded by an introduction of about a minute, in which the group seems to suggest that something majestic is being presented. Instead, the song is the most commercial thing one could hear from this group. A track that would not have looked out of place if it had been included in their previous work. Even “Knockers” is not the best, but something different is noticeable. With “Is It Just Me?” the band experiments with 80s rock in Van Halen style, with a decent result. Even “Dinner Lady Arms” retains the catchiness of the previous tracks, which may not be masterpieces, but they are enjoyable to listen to. “Seemed Like A Good Idea At The Time” is the band's first slow song, where the true great differences in sound can be heard: the inclusion of strings. But the evolution doesn't stop there. Already at the beginning of “Hazel Eyes,” Roy Thomas Baker's work is noticeable. The guitarist sounds like Brian May, even if Dan Hawkins is certainly not at his level but, aside from this aspect, the track is the worst on the album. “Bald” is a rock piece that pulls you along its entire duration, with an explosion of sound in the chorus, where the choruses can be noticed, having improved significantly compared to the debut. “Girlfriend” is, however, a song in pure Darkness style, uncommitted and ironic as they like to be. “English Country Garden” is a sort of rock opera, not even badly done. The pace is brisk and the choruses are absolutely not poorly done, with the guitar solo and Justin Hawkins' falsetto. The closing track “Blind Man” opens with piano and is followed by strings, a chorus with magnificent vocals, and the singer's voice interpreting the piece at its best. This is the best song on the album, leaving it suspended in the air, almost indicating that they want to compose a third album worthy of applause.

The producer certainly influenced the technical improvement of the group: excellent choruses, more measured guitars, and introduction of strings, all characteristics that made Queen famous around the world. If this is supposed to be a transitional album between the first and the third, we can expect a true masterpiece from this group in the future.