This is, obviously, Danish vocalist Mike Tramp’s second attempt to make new and in his own opinion valid versions of songs that he co-wrote, mainly with guitarist Vito Bratta, in 1984–1991. As you can easily understand, it would be a simple task to just write something very unflattering about a record like this one even before really giving it a fair chance. So, just for not becoming one of those kinds of writers I’m already close to four spins deep now as I start typing the words to begin this review.

This record seems like it’s just a fun thing to do for the vocalist himself. I think he tries to interpret these songs as if they were Mike Tramp solo songs written in 2024 instead of in his younger days when he was full of energy and had the eagerness to want to make something successful. If this assumption is true, then I have to admire him a bit for making different versions, because when thinking about it, what would be the point to just try to make a carbon copy of what has already been done?

Some of the songs are in fact better than what I expected them to be beforehand. Although not quite on the same level as their original versions, Lights And Thunder and Lonely Nights are still really good songs in this new clothing. But wait a minute, here it comes: Unfortunately, those indeed complimentary words do not go for most of the remainder of the record. A couple of examples: El Salvador and The Road To Valhalla, arguably top songs in their original costumes, are partly destroyed by the new style of vocal melodies and it’s apparent that the singer at times struggles to get the flow of words out right.

And as if that wasn’t enough of disapproval, a greater number of better songs were picked for the first Songs Of White Lion album from April last year, leaving us with some tracks now that are not even close to par, and I think that songs like Cherokee and Fight To Survive from the debut album would have been excellent choices instead of You’re AII I Need, Out With The Boys and All You Need Is Rock ‘N’ Roll every day of the week.

Before these final words are on my computer screen, I’m about to hit five times of listening to the record. In cases like this with remakes of classics, comparisons are of course often made. I might be wrong, but I’m sure that a lot of reviews will point heavily towards that and totally throw this one to the wolves. But fact is, I don’t have the urge to be unfair, so my final impression is that this one is a decent record after all, even if that conception perchance exists just because I’m able to relate to the old versions, which for half of the record are absolutely amazing in their original form.

Rating: 4/7