MIKE TRAMP - Remembering White Lion

Mike Tramp was the lead vocalist of one of the best melodic rock/metal outfits of the 1980s - 'White Lion'. While the band enjoyed platinum album sales they were one of the many casualties of the grunge movement. Hence, the bands split with only Tramp being heard of again in 'Freak Of Nature' [who were a quite impressive more classic rootsy rock outfit that while embracing some alternative trademarks released two quality releases] and then under his own name. That solo release 'Capricorn' was quite poor taking a more country rock approach and not a million miles away from the solo output of another grunge casualty Kip Winger. So when I heard of this release I was hoping for the best. Sadly this is not what I bargained for.
'Remembering White Lion' is released under the moniker 'White Lion featuring Mike Tramp' and sadly this is misleading and can only be seen as a way of getting a few more sales. You see the only member of White Lion to feature on this album is Mike Tramp, who is surrounded by a group of unknown musicians. While this could technically be called a White Lion release as it does feature all White Lion tracks it is chockablock of uninspired renditions of once great songs. Mike Tramp did approached Vito Bratta about reforming WL but he declined so presumably Tramp saw an opportunity to make a few bucks for himself under a name that still had some commercial potential. All I can say is well done Vito.

'Remembering White Lion' mainly features tracks of a more obscure nature along with the bands 3 biggest hits thrown in for good measure [Wait, Little Fighter and When The Children Cry] and for those all important sales. However, as said early don't expect the gloss and glitz of the 80's renditions. Here we are talking about reworkings that see all the tracks played in a more grunge inspired way or stripped down. The sleeve notes see Tramp beaming as to how great the new versions sound in their stripped down glory, his words being 'new, fresh and exciting', I disagree strongly with this. Instead for the most part the tracks are dull, uninspired and just plain ruined. Tramp has sung virtually every track in a lower key, presumably because his voice is not what it once was and this takes away quite a bit of the earlier magic as well.

'All The Fallen Men' starts off nicely enough with a Freak Of Nature-ish style to it, Tramps voice while in a lower register does sounds quite good. The chorus does not have the magic that it once did and the 80's BIG production does sounds missing here. The lyrics and arrangements are still good but the new version says nothing new at all.

'Warsong' was one of the highlights off the excellent 'Mane Attraction' album, Vito's playing on the original was awesome but this new version leaves me stone cold. The tempo is slowed down a little, the drummer is nowhere near the excellence of Greg D'Angelo's and ultimately a great song is reduced to a complete mess.

'El Salvador' is probably the best reworking on the album, it always was a great track and in fairness it still is in its new form. Stripped down and the slightly more honest approach does work, if only more of the album could of been like this.

'Wait' is another track that doesn't fare too badly all things considering. The spirit of the original is still intact even if it is quite different at times but ultimately its pleasant enough.

'Little Fighter' is another that will raise quite a few eyebrows. It seems Tramp has tried the take the track in a Black Crowes / Rolling Stones direction and in the process has ruined another great track. OK so the melody lines are still there but again the magic of the original is lost.

'When The Children Cry' is another of my least favourite reworkings, what was once a great 80's rock ballad is sadly now a run of the mill track that has no sparkle or appeal.

'Fight To Survive', to be perfectly honest I have never heard the original version of this track so I will judging this one on its own merit as it stands now. A good dark rock track with a good guitar sound and pretty heavy drums, you can kinda guess what the original would sound like and this makes me want to check it out. Tramps voice is dark but still shows a lot of the great soul that he had in the late 80's. I like this track and its probably the highlight.

'Living On The Edge' sees the White Lion magic turned into the direction of Tramps disappointing 'Capricorn' album, quite laid back with none of the guitar bite of Vito Bratta, frankly the guitarist on this album Kasper Damgaard tries his best to interpret or rearrange Bratto's guitar work and generally misses on all marks. Admittedly Brato was one of the most gifted of all the 80's metal guitarists and the fact that Kapser attempts very few solos suggests that either Tramp wanted to maintain the grunge approach or Kasper is unable to reproduce them, those that are, are mainly bluesy in nature with no flash.

'She's Got Everything' sees the band going all Red Hot Chili Peppers on us - oh dear. Again it is not even begins to reach the heights of the original. The chorus still shows some of the magic of old but overall its another disappointment.

'Lonely Nights' is another of the rare successes. It approach is quite similar to that on 'Fight To Survive' and again it works well, this is probably down to that fact that the vibe of the original is still their but slightly more stripped down with less guitar overdubs, at least Tramp has kept the vocal overdubs on the chorus, now all we need is a great solo which we don't quite get, its the best on the album and I must admit is damn good in its own right so I will let Tramp off with it this time but Vito's would of been preferred.

'Broken Home' sees the 'Capricorn' approach take effect again and the problem with this is that it sounds like every other modern blues rock band out their, nothing special and nothing as good as the original.

'Till Death Us Do Part' was never one of my favourite White Lion tracks and this version does nothing to change my mind. The tempo has been upped a little with a more major sounding guitar part than the minor of the original, this is backed up by a quite laughable bass line that borders on a cross of Country music and Polka. Tramp sounds bored singing the track and ultimately its a dull end to the album.