I was stuck in front of my radio, as I was every week when my favorite Rock show, Rockbox, was airing. The DJ threw Dutch rockers Vandenberg’s “This Is War” from their then new album Heading For A Storm (1983) right in my face and I was hooked before the opening riff had tuned out. Of course, I had to get that album – and the self-titled debut as well while I was at it. To my disappointment, Vandenberg dissolved after what I consider their best album Alibi (1985). Vandenberg had a big hit in the States with “Burning Heart” from their debut album but they never managed to follow that up with each album selling a little less than its predecessor. Then it got quiet from guitarist Adrian Vandenberg for a couple of years.
The next sign of life was when David Coverdale picked him as one of the guitarists for Whitesnake whose album 1987 had ran amok up the Billboard chart. Coverdale had fired the band that played on the album and needed a touring outfit. Adrian was a no-brainer as he actually played the solo on said album’s re-recording of “Here I Go Again”. Adrian stayed with Whitesnake for a few years and co-wrote the follow-up Slip Of The Tongue (1989) before Cov put the band on hiatus. Vandenberg then took his Whitesnake band-mates, bassist Rudy Sarzo and drummer Tommy Aldridge and formed Manic Eden with ex Little Caesar singer Ron Young and released a brilliant album in 1994 but they fell apart shortly afterwards. The last we heard of Adrian for many years was on Coverdale’s solo album Restless Heart (1997) (released under David Coverdale & Whitesnake moniker), which he co-wrote parts of, played on and went on tour with.
Fast forward to 2014 and all of a sudden Adrian was back with his new effort Vandenberg’s Moonkings and a brilliant self-titled album that brought back memories of Vandenberg as well as Whitesnake and the follow-up, MK II (2017) was just as good. However, it must be stated that the albums got some mixed reviews. I still stand by high scores for those records and I still listen to them a lot. With Adrian doing his Moonkings, it was somewhat surprising that he had reformed Vandenberg albeit with a whole new line-up. The fact that his old band members tried to resurrect Vandenberg without Adrian made it clear that none of them would be included in the new line-up. Instead Adrain hired singer Ronnie Romero (Rainbow, CoreLeoni, The Ferrymen), bassist Randy van der Elsen (Tank) and drummer Koen Herst (Doro). However, without having any credits around, it looks like the rhythm section on the album is done by Rudy Sarzo on bass and Brian Tichy on drums.
The new album opens with “Shadows Of The Night”, a fast-tracked rocker based on 70’s Hard Rock but with a clear 80’s vibe. It’s a cracker of a song with some heavy rock muscular riffing but with a lasting main melody and a bang-on-target refrain. It sends a classic Vandenberg vibe our way but lots of Whitesnake style sounds and a Rainbow twist as well. It was released as a taster prior to the album’s release and even though it doesn’t contain any hit vibes, it sure tells us what to expect. Very good. “Freight Train”, another taster, continues the heavy and crunchy outlook with crispy and edgy guitars. The meaty and fat sound brings on a Moonkings touch. It’s not as pounding in-your-face as the opener but still heavy enough with a very melodic yet rocking feel. I like it.
With some Led Zeppelin riffing and a big Deep Purple and Rainbow influence, “Hell And High Water” is Classic Rock galore and holds a sharp and driven groove and the 70’s twists are everywhere, making the tune closer to Manic Eden than any Vandenberg album out there. It’s upbeat, chunky and cut-loose with an organic and earthy atmosphere. Great stuff. With “Let It Rain” we have a mid-paced and more laid-back rocker that borders to a ballad. The verses are more sparse and even sullen on a slower tempo while the chorus gets more uptempo and poppy with lots of hooks and catchiness. Style-wise, it approaches Vandenberg’s more 80’s laden Melodic Rock sound and even though it’s a not a power-ballad as such, it’s a soulful calming track with an astounding chorus-line. This is brilliant.
“Ride Like The Wind” – not a Christopher Cross cover – is an edgy and crunchy uptempo rocker that brings on a Gotthard meets 80’s Rainbow meets early Vandenberg feel. The chugging riff and the heaviness of the rhythm-section takes the tune forward in a straight-forward and very effective way while the the chorus is direct and catchy. I’d go with this a s a future single. Very good. “Shout” is groundy and crunchy on a solid and steady beat. The verses are a bit held-back but also with a groove and some meaty riffing and the chorus is effective enough by going straight for the jugular. While the song holds a chunky live-feel, it never really goes beyond being a decent track. Not bad but I’m not really convinced either.
With a sparse and even gentle intro of Adrian’s guitar and Romero’s voice with a held-back drum-tapping, “Shitstorm” roars off into a rowdy and crisp Classic Rock stomper with a kicking Rock ‘n’ Roll swagger – punchy, rowdy and bad-ass groovy yet with strong melodies, meaty hooks and an in-your-face and loud chorus that sticks right off the bat with Romero announcing “we’re riding a shitstorm”. No shit… the album is called 2020, after all. Killer track. The uptempo, Hard Rock driven “Light Up The Sky” is with its chugging metal-like riffing the bastard son of Whitesnake’s “Bad Boys” and “Kitten’s Got Claws” – but this is where the child brings its parents down. A much better track than both of them, the ballsy and crunch-catchy refrain takes the tune over the finishing-line. Yeah, I dig this.
Next up is the album’s first taster and the rerecording of Vandenberg’s first and and only big hit “Burning Heart” off their debut album – and also recorded but never released by Whitesnake. The acoustic guitars are brought in for this and even though it gets more electric, it’s a stripped, raw and emotional version with a more 70’s touch. To be honest, I was never a huge fan of the original and I’m sure I’ll get my ass kicked for this, but I actually prefer this version. Also, as a singer, Romero is superior to Bert Heerink. I dig. The album’s closer is also the latest single, “Skyfall”. The song builds up slow and mellow but turns massive when the spot-on chorus comes in. It’s fat, heavy and crispy with a crunchy sound with an outlook to when the 70’s turned 80’s, very loose and flowing with both hooks and catchiness all over. A brilliant way to end this record.
Even though it’s a bit hard to connect this to the three other Vandenberg albums – it really sounds like a whole other outfit – it’s still a damn good album that sounds both vital and fresh without reinventing the wheel at any point. What we’re given here is a down n’ dirty melodic Hard Rock album that showcases all of Adrian’s influences. There are classic Vandenberg in here and a lot of Moonkings as well and yes, Whitesnake, Rainbow and Deep Purple shows up on a regular basis. Soundwise, it looks back on the 70’s as much as on the 80’s – but rest assured they never go into clone territory. For a guy like Romero, he fits this project like a glove and feels as natural with Vandenberg as Vandenberg did with Coverdale. I’m sure the nay-sayers will show up slashing this but who cares. This is a great Rock album that I’d love to see live when the damn pandemic is over!
8/10
Tracklist:
1. Shadows Of The Night
2. Freight Train
3. Hell And High Water
4. Let It Rain
5. Ride Like The Wind
6. Shout
7. Shitstorm
8. Light Up The Sky
9. Burning Heart – 2020
10. Skyfall
CD & Festival reviews 