Supergroups rarely last a long time. The combination of various egos usually leads to burnout pretty quickly. In the case of Blackthorne (featuring Graham Bonnet along with members of Quiet Riot, House of Lords and Skull), there wasn’t really anything you’d call genuine longevity, but their course ran a little longer than most. Formed in 1991, they released their debut ‘Afterlife’ in 1993 which led to some success in Japan. Work on a second album was undertaken in the mid-90s, but the band called it a day before the record was ready for release. The tapes remained unreleased until HNE Recordings unearthed them as part of their extensive (and excellent) Graham Bonnet reissue campaign. It’s a shame Blackthorne’s proposed second album couldn’t be heard in 1995, as at least half of it was an improvement over their first release.
Having already released ‘Afterlife’ with a handful of bonus tracks and finally gettiing ‘Blackthorne II: Don’t Kill The Thrill’ out to the fans in 2016, you’d expect that Cherry Red/HNE Recordings would have nothing more to give from Blackthorne’s all too short career, but this compilation (released in October 2019) actually adds a lot more to the band’s recorded legacy. Not so much a career overview with a few unreleased trinkets, this set is actually a vault of demos and alternate takes, peppered with a few album cuts to give a fairer overview of their short life span. Presented among the 44 tracks in this set are 30 unreleased cuts, a couple of which go right back to the band’s origins when the rhythm section featured White Lion men James Lomenzo and Greg D’Angelo. In other words, there’s a huge amount for fans to get their ears around.
Over the years, dUg Pinnick has put his name to some fantastic albums. His long career with King’s X has afforded him a legendary status. Likewise, guitarist George Lynch has performed on some great material. Even at times when Dokken’s material didn’t hit the mark back in the 80s, Lynch’s lead guitar work was almost always terrific. In theory, a union between the two should have created hard rock gold, but unfortunately, the first two albums released by KXM – their supergroup with KoЯn’s Ray Luzier – were patchy affairs. 2017’s ‘Scatterbrain’ was an improvement on the 2014 debut, but still fell a little short in direct comparison to anything by King’s X at their very best. The bulk of this third album – their first for Frontiers Records – follows suit with another hit and miss collection of heavyweight rockers.
Released over three years after the band’s formation, Big River’s debut album was a long time coming. Between 2016 and 2019, the band spent what seemed to be an eternity playing small venues on the UK’s south coast. The constant live work made sense, no matter how small a venue; there’s no point in spending money on recording before there’s an audience. Having been guitarist with several grassroots rock acts before Big River were even a twinkle of an idea, that’s something that band founder Damo Fawsett knows only too well. Three years of gigging eventually paid off, though, when in 2019 Big River scored support slots with both John Corabi (ex-The Scream/Union/Motley Crue) and Marco Mendoza (Dead Daisies/Black Star Riders).
Following his departure from Rainbow in 1980, Graham Bonnet carried on his musical journey. In 1981 he recorded his fourth solo album (‘Line Up’) and in 1982 replaced Gary Barden as the voice of the Michael Schenker Group. In 1983, Bonnet joined Alcatrazz, with whom he recorded three albums. Their 1985 disc ‘Disturbing The Peace’ (featuring Steve Vai) ranks alongside Rainbow’s ‘Down To Earth’ as a career high point for the prolific vocalist. After brief stints providing vocals for Forcefield (a band featuring his old Rainbow mate Cozy Powell), Pretty Maids and Chris Impelliteri, he landed a job in 1991 as the frontman for an all-star rock band named Blackthorne.
With overtones of Warrant, Trixter and other vaguely sleazy bands, Roxy Blue’s 1992 debut album ‘Want Some’ became a firm favourite among fans of the glammier end of the melodic rock scale. With a really catchy set of songs and solid musicianship, it was the kind of album that deserved better than just cult status. Over the passing decades, it’s never seemed to get the same rose tinted love as, say, Warrant’s ‘Dog Eat Dog’, It’s Alive’s ‘Earthquake Visions’ or Kingofthehill, but if approached in the right mood, it’s every bit as good as other similar stuff from the period. Disappearing not long after, Roxy Blue seemed destined to join Outlaw Blood, Warp Drive and countless others in the “one album band” stakes. Despite frontman Todd Poole continuing to write songs, as the next few years came and went, they seemed about as likely to record a second album as Ted Nugent becoming a progressive minded vegan.