Might as well come right out and say it: there hasn't been a decent "Dokken" album since Don Dokken's "Up From the Ashes" solo album. Dokken (the band) broke up in the late 80s and then reformed again a few years later. This rebirth spawned some truly horrific offspring that had music that only a diehard fan could love. There was the modern malfunction of "Dysfunctional", the lifeless "Shadowlife", an attempt to "Erase the Slate" that failed despite best attempts (adding John Norum back to the fold), a depressed cynical Don gave us the flat and modern "Hell to Pay" (2004). While "Erase the Slate" had a few songs that could be termed as "charming" and "Dysfunctional" just was twisted and strange more often than not, the body of their work was as pale as a cadaver and about as lively.

Even if you took the Dokken name off of these albums (and thus erasing all expectations of something that "sounded" like Dokken), they would still suck like leeches on a blood lustful feeding frenzy. For a man who started out as a car salesman (Mr. Dokken himself) it seemed he really had no idea how to "sell" his band properly anymore. These discs may have satisfied their need for artistic expression, but for those listening to them, they were an exercise in disappointment and futility. Dokken was a band that had a unique, distinct sound within a sea of imitators and bands with towering hair. Those that cut their rock teeth on "Tooth and Nail" and "Under Lock and Key" wanted more galloping rhythm guitars, scorching metal anthemic odes to love, and swooning power ballads.

Finally, the band resigned to give those fans what they have clamored for for so long. Well the band didn't exactly give in to fan pressure, the record label was what dictated the change in Dokken's sound as they rejected the first draft of the disc. It's actually the "new" guitarist Jon Levin you have to thank for any resemblance to the 80s heyday since he was the one that went into the tracks and reworked them for an "older" "classic" feel.

Perhaps artistic integrity was chucked out the window as a sacrifice in the process, but the results are well worth it. Even with George Lynch and Jeff Pilson out of the loop, "Lightning Strikes Again" borrows the title from an "Under Lock and Key" classic and seems poised to deliver upon forgotten promises. A few of the songs from "Lightning" are reasonably imagined to be followups to their 80s glory phase. Others managed to survive the overhaul without acquiring those nifty nostalgic trappings and are more along the lines of what Don is writing and is all about these days. So lightning has struck again, and has split this album cleanly in half.

"Standing on the Outside" is exactly, perfectly, absolutely everything Dokken fans daydreamed for. John Levin, lawyer/guitarist, manages to nail the George Lynch signature gallopy-riffing sound and charges full speed ahead to kick this winner into overdrive. Throw in a big, boomy chorus and a sense of slick melodic sensibility and you get a pretty sweet song in general. "Give Me A Reason" is another song that is retro-riff driven and could have been a B-side from "ULaK". "Heart to Stone" is even more suited to the melodic rock feel, soaring in the chorus, catchy in all ways possible and Don delivering some great vocal lines. He had been rumored to have lost his voice (judging by the smoky and/or distorted vocals on a few other discs) but here he is in fine form.

Then "Disease" takes over, and its modern clashed with the 80s. Heavy, thumping and a bit overly repetitive, its not a bad song at all. Wouldn't toss it out with the wash, that's for sure. The guitars are flashy and fulfilling but the over looping of the chorus gets on the nerves.

"I Miss Your Smile" is a saccharine soupy sweet ballad. A lilting little tune that is soft as a cloud and filled with emotional whimsy. Some have absolutely loathed it, but its a nice song overall. "Oasis" is deep and moody, a dark atmosphere that recalls "Shadowlife"s better tracks. Don's voice is rich in melody but seems to float around like a disembodied ghost, giving a soft haunting appeal that matches the drifting pace.
"Point of No Return" does a doubletake back to the 80s Dokken sound. It's a high tempo rocker that favors a slamming rhythm section and crackling vocals. Nothing remarkable, but infinitely more palatable than anything off their 90s releases. "I Remember" is a laid-back acoustic ballad that's light in its soothing airs, but heavy on emotion. Strangely reminiscent of some of the Scorpions ballads (Don filled in for Klaus for awhile before Dokken was popular, ironically enough). A bit too sleepy, but decent enough.

"Judgement Day" charges forward raining thunderous drums, rollin' bass and singing sweet guitars that set the song up as a conflagration of melodic metal. A flash of electric here, a lightning bolt of energy there, it darts in and out and answers any vocally posed questions. The chugging rhythm around the lead-in bridge to the verse is pure "Tooth and Nail" Dokken and the melody is "Back For the Attack" approved. Good stuff all around.

Back to modern influences on "It Means", a devastatingly dark midtempo track that has a heavy bottom end and is exotically enhanced by a Middle Eastern vibe. Not exactly a favorite here - the chorus is not striking enough after the seemingly endless plod of the verses. A pessimistic, shattered song that does have the opportunity to grow and does convey the pain of empty dreams and abandoned love. Another track that shares similarities with "Shadowlife" is "Release Me" which is terribly depressing. Pop a few anti-depressants before diving in this empty wishing well of dark depression. The chorus utilizes its melodies for best effect, giving the song a weighty impact.

"This Fire" is quick paced again, and retains too much of the modern touches to make it anything other than a rocker filler. It's better than ending the disc on a downer like "Release Me", for it does pick up the pace and gives a decent closure. However, it lacks the hooks that Dokken is known so well for. A shell of a song, lacking a soul. A shame too...

So that's "Lightning Strikes Again" for you in a nutshell - an album that is half classic Rokken with Dokken and half modernistic moody meddling with "Shadowlife". There are some quite excellent tracks here - such as the opener and the lovely ballad "How I Miss Your Smile" but others are off the mark such as the closer, and "Point of No Return". Recommended for those Dokken fans that have waited ages for anything worth fawning over, but casual melodic rockers would best be directed elsewhere for their music fix.

Written by Alanna
Monday, April 14, 2008
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Ratings

Alanna: 6.5/10

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