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Voodoo Highway
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 | This article needs additional citations for verification. (July 2007) |
| Voodoo Highway | ||||
|---|---|---|---|---|
 Cover art by John Taylor Dismukes | ||||
| Studio album by | ||||
| Released | June 7, 1991 | |||
| Studio |
| |||
| Genre | Hard rock, blues rock | |||
| Length | 45:15 | |||
| Label | Titanium/Atlantic | |||
| Producer | Jake E. Lee, James A. Ball | |||
| Badlands chronology | ||||
| ||||
| Review scores | |
|---|---|
| Source | Rating |
| AllMusic |    [1] |
| Collector's Guide to Heavy Metal | 10/10[2] |
Voodoo Highway is the second studio album by the American hard rock band Badlands. After their first album, drummer Eric Singer left the band to join Kiss, and was replaced by drummer Jeff Martin, who had previously sung lead vocals in the bands Surgical Steel and Racer X. Bassist Greg Chaisson was instrumental in getting his friend Jeff Martin the gig with Badlands. They had earlier played in the Phoenix, AZ bands Surgical Steel and St. Michael together and teamed up again in the Blindside Blues Band and RedSea following the demise of Badlands.
The song "Joe's Blues" is named after then Terriff and future Ozzy Osbourne guitarist Joe Holmes who worked as a guitar tech for Jake E Lee during the recording of Voodoo Highway. Ray Gillen briefly joined Holmes in Terriff after leaving Badlands in 1992.
In 2005, American Idol star Bo Bice made the second to last round with his a cappella rendition of the album's closing track, "In a Dream". He lost the season to Carrie Underwood, but judge Simon Cowell believed that Bice would have won, had he saved "In a Dream" for his final performance.[3]
Track listing
[edit]All tracks are written by Jake E. Lee and Ray Gillen, except where noted.
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 1. | "The Last Time" | 3:41 | |
| 2. | "Show Me the Way" | 4:12 | |
| 3. | "Shine On" | Greg Chaisson, Lee, Gillen | 4:22 |
| 4. | "Whiskey Dust" | 4:18 | |
| 5. | "Joe's Blues" | Lee | 0:57 |
| 6. | "Soul Stealer" | 2:58 | |
| 7. | "3 Day Funk" | 3:52 | |
| 8. | "Silver Horses" | Jeff Martin, Lee, Gillen | 4:40 |
| 9. | "Love Don't Mean a Thing" | 4:01 | |
| 10. | "Voodoo Highway" | 2:22 | |
| 11. | "Fire and Rain" | James Taylor | 3:40 |
| 12. | "Heaven's Train" | Chaisson, Lee, Gillen | 3:58 |
| 13. | "In a Dream" | Gillen | 2:14 |
Personnel
[edit]- Badlands
- Ray Gillen – lead vocals, second harmonica on track 7
- Jake E. Lee – guitars, Moog bass, organ, piano, güiro, tambourine and percussion
- Greg Chaisson – electric and acoustic basses
- Jeff Martin – drums, assorted percussion, first harmonica on track 7, backing vocals
- Production
- James A. Ball – co-producer, engineer, mixing at Westlake Audio, Los Angeles
- Brad Aldridge, Michael Malina – mixing engineers
- Gina Immel, Mike Gunderson, Steve Harrison – assistant engineers at Rumbo Recorders
- Chris Kupper – assistant engineer at Indigo Ranch and Studio II
- Greg Calbi – mastering at Sterling Sound, New York
Charts
[edit]| Chart (1991) | Peak position |
|---|---|
| UK Albums (OCC)[4] | 74 |
| US Billboard 200[5] | 140 |
References
[edit]- ^ McDonald, Steven. "Badlands - Voodoo Highway review". AllMusic. All Media Network. Retrieved June 23, 2018.
- ^ Popoff, Martin (August 1, 2007). The Collector's Guide to Heavy Metal: Volume 3: The Nineties. Burlington, Ontario, Canada: Collector's Guide Publishing. p. 39. ISBN 978-1-894959-62-9.
- ^ Corey Moss (May 25, 2005). "Carrie Underwood Wins 'American Idol'". MTV. Archived from the original on April 17, 2015.
The outspoken judge, however, thought Bo would have won had he saved his goose-bump-inducing a cappella rendition of Badlands' "In a Dream" from last week for Tuesday's final performance night.
- ^ "Official Albums Chart on 16/6/1991 – Top 100". Official Charts Company. Retrieved June 30, 2024.
- ^ "Badlands Chart History (Billboard 200)". Billboard. Retrieved June 30, 2024.
External links
[edit]
Voodoo Highway
View on Grokipediafrom Grokipedia
Background
Band formation and debut album
Badlands was formed in 1988 when guitarist Jake E. Lee, who had recently been dismissed from Ozzy Osbourne's band in 1987, sought to create a new group emphasizing blues-infused hard rock. Lee recruited vocalist Ray Gillen, a former member of Black Sabbath whose powerful, soulful style from that tenure carried over to Badlands' sound, along with drummer Eric Singer, previously with KISS and also Black Sabbath alongside Gillen, and bassist Greg Chaisson, known from his time in Steeler.[5][6] The band quickly signed with Atlantic Records and entered the studio to record their self-titled debut album, released on May 11, 1989, under the Titanium sublabel. Produced by Paul O'Neill and the band themselves, the album featured a mix of heavy riffs and Gillen's emotive vocals, capturing their live energy in tracks like the opener "High Wire." It achieved moderate commercial success, peaking at No. 57 on the Billboard 200 chart, with singles such as "High Wire" and "Dreams in the Dark" gaining traction on rock radio and MTV.[7][8][5] To promote the release, Badlands embarked on an extensive tour, opening for established acts including Great White and Tesla over a three-month stint, while also playing club shows with support from D:A:D. The touring schedule highlighted the band's chemistry but also exposed tensions; by 1990, internal dynamics—stemming from business differences—led to drummer Eric Singer's departure, as he rejoined KISS on a more permanent basis following a brief stint with Paul Stanley's solo project.[5][9]Transition to second album
Following the release and touring cycle for Badlands' self-titled debut album in 1989, drummer Eric Singer departed the band in late 1990 to pursue opportunities with KISS, prompting a significant shift in the group's rhythm section dynamic.[5] Singer's exit, which occurred after the initial album's promotional efforts, left the band seeking a replacement to maintain their hard rock momentum rooted in the high-energy style of the debut era. In early 1991, bassist Greg Chaisson recommended Jeff Martin, his former bandmate from Surgical Steel and the vocalist of Racer X, an experienced drummer who brought a fresh, powerful presence to the lineup and helped stabilize the ensemble for upcoming recordings.[10][5] Amid these changes, vocalist Ray Gillen faced personal health challenges, having been diagnosed with HIV around 1990, though this remained private and unknown to his bandmates at the time.[11] Gillen's condition, which first manifested symptoms that year, added personal pressures during this period.[5] This period of transition underscored the need for rapid progression toward new material, aligning with the band's determination to build on their established hard rock foundation despite external and personal pressures. The personnel adjustments also influenced key creative decisions, including the choice to self-produce the follow-up album, with guitarist Jake E. Lee assuming a more prominent role behind the console. This move stemmed from dissatisfaction with external producer Paul O'Neill, who had co-helmed the debut and whose involvement led to notable conflicts, such as attempts to alter Lee's guitar work during sessions.[12] By handling production internally, Lee and the band sought greater artistic control, reflecting a deliberate evolution in their collaborative process as they prepared for what would become Voodoo Highway.[13]Recording and production
Studio selection and sessions
The recording of Voodoo Highway took place primarily at Rumbo Recorders in Canoga Park, California, during early 1991.[14] Jeff Martin, who had recently integrated into the band as drummer following Eric Singer's departure to join Kiss, contributed to the rhythmic foundation during these sessions.[11] Sessions faced challenges, notably with vocalist Ray Gillen's performances, as his deteriorating health—later revealed to be AIDS-related—led to multiple attempts for vocal takes and a noticeably thinner appearance compared to the prior album. Guitarist Jake E. Lee spent considerable time experimenting with tones, employing various Marshall amplifier heads to achieve distinct grungier and smoother sounds across tracks.[11][15]Key production decisions
The band opted for self-production on Voodoo Highway, with guitarist Jake E. Lee serving as the primary producer and co-writing most tracks alongside vocalist Ray Gillen, while bassist Greg Chaisson and drummer Jeff Martin contributed fewer compositions; co-producer and engineer James A. Ball assisted in shaping the album's direction. This approach contrasted sharply with the debut album's more polished sound, helmed by external producer Paul O'Neill, allowing the band greater creative control to emphasize a raw, bluesy hard rock aesthetic that highlighted their live performance energy over studio gloss.[2][3] Recording sessions occurred primarily at Rumbo Recorders in Canoga Park, California, and Indigo Ranch Studios in Malibu, California, where the focus was on capturing the band's organic interplay with limited post-production interference to retain a gritty, unrefined edge. The production spotlighted Gillen's versatile vocals—ranging from silken melodies to throaty rumbles—layered sparingly for emotional depth, paired with Lee's expressive slide guitar, including notable dobro work on tracks like the title song and "In a Dream," to evoke a soulful, road-worn intensity.[16][3] Mixing took place at Westlake Audio in Hollywood, California, with Ball overseeing the process alongside second mix engineer Brad Aldridge and second engineers Chris Kupper, Gina Immel, and Mike Malina; here, the team prioritized prominent, driving guitar arrangements and restrained effects, eschewing heavy reverb to deliver a direct, punchy mix that amplified the album's themes of restless travel and blues-infused grit. Mastered by Greg Calbi at Sterling Sound in New York, the final product maintained this straightforward sonic profile, underscoring the band's intent to sound like a high-octane live act barreling down an open road.[17][18]Musical style and themes
Genre and influences
Voodoo Highway is primarily classified as a hard rock album infused with strong blues rock elements, blending gritty guitar-driven riffs with soulful undertones. This stylistic direction marks a departure from the more polished, high-energy hard rock of Badlands' self-titled debut, leaning into a groove-oriented sound that emphasizes mid-tempo rockers over faster-paced tracks. The album's structure favors extended jams and atmospheric builds, with several shorter instrumental pieces serving as tonal bridges between fuller compositions.[19][1][5] The band's influences draw heavily from 1970s hard rock and blues pioneers, including Led Zeppelin and Free, which manifest in the album's raw, riff-centric approach and dynamic rhythm sections. Guitarist Jake E. Lee's contributions further amplify these roots, incorporating pentatonic scales and slide techniques to craft swampy, evocative riffs that infuse the music with a mystical, "voodoo"-like aura—most notably in the title track's brooding intro and solos. This evolution reflects Lee's shift toward more organic, blues-inflected playing, prioritizing feel and texture over technical flash.[20][21][1] While not explicitly Southern rock, the album's humid, groove-heavy blues elements evoke parallels to that genre's earthy swagger, though the core remains firmly in hard rock territory. The production's emphasis on a raw, unpolished tone enhances these influences, allowing the instrumental interplay to shine without excessive gloss.[2][5]Lyrical elements
The lyrics on Voodoo Highway center on themes of personal struggle, mysticism, and the open road, often drawing from Ray Gillen's own life experiences with relationships and inner turmoil. In "The Last Time," for instance, Gillen conveys regret over a failed romance through vivid imagery of heartache and isolation, with lines like "Oh my sweet, young child livin' heartache alone / Pictures cry on the wall / Whispered sins, never surprise me to fall," underscoring emotional loss and the weight of past mistakes.[22] Spiritual and voodoo motifs appear prominently in the title track, where the "Voodoo Highway" serves as a metaphor for a chaotic, temptation-filled journey, as Gillen warns of deceptive voices and a "wicked road" that threatens to "take me down before I'm dead." This symbolism evokes mysticism and the perils of life's unpredictable paths, blending supernatural elements with a sense of inevitable struggle.[23] In contrast, more optimistic tracks like "In a Dream" provide hopeful ballads amid the album's darker tones, exploring redemption and solace in love, with Gillen pleading for comfort: "When I'm down and feeling low / And confusion has touched my soul / How I need some place where I can hide away / Let me fall within your arms." These lyrics highlight a yearning for emotional healing and grace, offering respite from themes of loss.[24] Gillen's songwriting reflects his personal struggles and relational challenges, infusing the album with raw authenticity rooted in the blues rock tradition. His vocal delivery enhances these elements through soulful, emotive phrasing that conveys deep vulnerability and intensity, evoking raw emotion on tracks like "Seasons," where the soulful edge amplifies the sense of longing and resilience.[25]Release and promotion
Release details
Voodoo Highway was released on June 11, 1991, in the United States by Atlantic Records, with a European release following on June 10, 1991.[26][27] The album was issued in multiple formats, including CD (catalog number 7 82251-2), cassette, and vinyl LP, marking the primary physical media for its initial distribution.[2] The album artwork featured art direction by Bob Defrin, gator logo design by GGGarth, and photography by Mark Weiss, evoking a thematic desert highway motif aligned with the album's title.[18] Initial pressings were centered on the U.S. market through Atlantic, with international variants handled via affiliated labels like Titanium Records, reflecting the band's emerging profile in the hard rock scene.[2]Singles and marketing
The lead single from Voodoo Highway, "The Last Time", was released in 1991 on Atlantic Records.[28] The song was accompanied by a music video that featured performance shots of the band.[29] Marketing efforts included a summer 1991 U.S. tour supporting the album, along with Atlantic Records' targeted radio campaigns at album-oriented rock (AOR) stations to drive airplay. These initiatives were ultimately limited by the concurrent rise of grunge, which dominated mainstream rock attention that year.[30][31]Reception and legacy
Critical reviews
Upon its release in 1991, Voodoo Highway garnered generally positive notices from hard rock publications, though some critics noted challenges in its market timing. Similarly, Rock Hard rated it nine out of ten, commending the album's high energy and blues-infused grooves as a step forward from the debut.[32] Retrospective assessments have solidified Voodoo Highway's reputation as an underrated effort in the hard rock canon. AllMusic described it as having potential as a good hard rock album despite some clichés.[19] The overall critical consensus holds that Voodoo Highway resonates strongly with fans of classic hard rock, offering a gritty, soulful alternative overshadowed by the grunge explosion of the early 1990s. Reviewers frequently highlight vocalist Ray Gillen's performances as a career pinnacle, showcasing his versatile, emotive range across the tracks.[33][1]Commercial performance and impact
Voodoo Highway achieved modest commercial success upon its release, peaking at number 140 on the US Billboard 200 chart in June 1991.[3] The album also entered the UK Albums Chart at number 74, marking the band's presence in international markets, though it did not achieve major chart placements elsewhere.[34] Singles such as "The Last Time" received radio airplay and contributed to the album's visibility on rock formats, but they did not secure top positions on the Mainstream Rock chart.[35] In the United States, initial sales were limited, reflecting the challenges of the shifting music landscape in the early 1990s and leading to the band being dropped by Atlantic Records after the supporting tour.[1] Globally, the album found a niche audience, particularly in Japan where multiple domestic editions were issued, supporting steady sales among hard rock enthusiasts.[36] Following vocalist Ray Gillen's death in 1993, the album gained a growing cult following, as fans revisited its blues-infused hard rock sound amid tributes to Gillen's powerful vocals.[37] The band's breakup in 1992, shortly after completing the Voodoo Highway tour, positioned the album as their final studio testament with the original lineup; the group later reformed with a new vocalist for the 1998 album Dusk.[38] A 2021 digital remaster released by Vista Records significantly boosted streaming numbers, introducing the album to new listeners via platforms like YouTube, where full remastered versions amassed hundreds of thousands of views.[39]Album content
Track listing
All tracks are written by Ray Gillen and Jake E. Lee unless otherwise noted. The album has a total runtime of 45:13.[13][40]| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 1 | "The Last Time" | Gillen, Lee | 3:41 |
| 2 | "Show Me the Way" | Gillen, Lee | 4:12 |
| 3 | "Shine On" | Chaisson, Gillen, Lee | 4:22 |
| 4 | "Whiskey Dust" | Gillen, Lee | 4:18 |
| 5 | "Joe's Blues" (instrumental) | Lee | 0:57 |
| 6 | "Soul Stealer" | Gillen, Lee | 2:56 |
| 7 | "3 Day Funk" | Gillen, Lee | 3:51 |
| 8 | "Silver Horses" | Martin, Gillen | 4:40 |
| 9 | "Love Don't Mean a Thing" | Gillen, Lee | 4:01 |
| 10 | "Voodoo Highway" | Gillen, Lee | 2:22 |
| 11 | "Fire and Rain" | Taylor (cover) | 3:40 |
| 12 | "Heaven's Train" | Chaisson, Gillen, Lee | 3:57 |
| 13 | "In a Dream" | Gillen, Lee | 2:13 |