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LYNN ALLEN
Streetlight

AOR Blvd (2015)
Rating: 7.5/10

Limited to only 500 CD copies, this new opus from Lynn Allen is one which AOR fans should be snapping up as quickly as possible.

For a quick history lesson to those who do not know, Lynn Allen is a melodic rock act from Iowa in the United States which formed in the early 80s with a line-up of Billy Peiffer (vocals / guitar), Tim Compton (guitar), Terry Murphy (bass), Bob Boyd (drums) and Dale Fisher (keyboards). In 1984, the band released their full-length opus We Laugh At You and would spend the following years sharing the stage with such esteemed acts as Ratt and Great White.

However, with their album Panorama Park due for release in 1989 Peiffer left the band and joined Big Rock in San Francisco, but would return to Lynn Allen shortly afterwards to record the 1991 self-titled full-length (also known as The Pink Album due to its cover artwork). In spite of the grunge invasion Lynn Allen went on to be successful in the 90s, although 1995’s Petrified Ice Cream was to be their last studio effort. In 2007 the band reunited to record The Horse You Rode In On and now we have another top quality rock release with the ten-track Streetlight.

It’s certainly been a story of ups and downs for the band, and with Peiffer as the sole survivor from the original line-up he’s now joined by guitarist Paul DePaw, bassist Barry Bestal and drummer Kevin Sampson.

After a few spins I have to say that Streetlight is probably one of the most soothing, easy on the ear rock records I’ve heard for some time. Although I knew what to expect having enjoyed Lynn Allen’s previous works, Streetlight is a warm, comforting record boasting simple melodies which stick long in the ears, even after just one listen.

Opener ‘Wheels Keep Turning’ is a joyous, upbeat romp actually reminding me of something Donnie Vie (ex-Enuff Z’Nuff) would come up with, such is its summery, sugary nature. Although the vocals are just a touch strained at times the track comes across as an effortless and breezy rocker and a great way to start this charming opus

‘Falling’ has a rockier edge than the opener; the guitar has a fiery edge and the drum nods along nicely in tandem with the plodding bass. It’s AOR as it should be; seemingly modest and lacking overall frills, but boasting soul and pop majesty as it rolls. ‘What It Is’ continues the melodic theme with the guitar having a jarring groove to it while the drums remains persistent in its nod. Again it’s a classic case subject-wise of love lost and found as the track builds to a nice fluid chorus where Billy Peiffer’s vocals soar nicely.

I guess the word “nice” pretty much sums up this record; a cheery journey through AOR basics but an opus which does enough due to its well-crafted songs and general all-round talent of those involved. You certainly won’t get stunning thrills or much weight. The title track, however, offers a nice smooth groove – it’s the sort of track with a heavy lean towards an 80s college vibe evoking images of courting teenagers at late-night drive-ins. In a sense, that’s what a lot of the best AOR does; conjure up moods and images evocative of an era that still remains widely popular.

With the likes of ‘Drive’ and ‘Today She Is On Fire’ we get those effective bubblegum rock stomps, but at the other end of the spectrum ‘I Will’ is simply sumptuous as an acoustic ballad that would have benefited from being a few minutes longer. If you’re one of those craving an edgier tune however, then the closing ‘She Is The One’ comes complete with driving guitar and unassuming vocal to round off a pleasant record that seems happy to comfort rather than cavort.

Neil Arnold

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