Twenty Four 7, 'Destination Everywhere' -- Album Review
Saturday, November 4, 2023 at 03:32PM
Twenty Four 7? Who? That was my first thought as I was rummaging around the internet. My initial search didn’t help. Turns out this album was originally released in 2002 by Melodic Mayhem Music (don’t look for them . . . their website is for sale) under the same title but with the band being called Twenty 4 Seven. The thing that initially got my attention was the involvement of John Corabi, Bobby Blotzer, and, to a lesser extent, guitarist Rob Marcello (the guitarist in Danger Danger since 2003 or thereabouts).
Nowadays, these sorts of ‘supergroups’ (the label calls them that) have a whiff of that Frontiers-stank attached to them. You know, the piled together, never to tour, likely never to release much more, sorts of bands that nostalgia labels in Italy and elsewhere release near constantly. In 2002, I am not sure that was the case, even if the early-2000s weren’t exactly a high-water mark for metal acts that established themselves in the 80s (with Motely Crue releasing New Tattoo in 2000, Danger Danger releasing the litigation-fraught Cockroach a year after, and Ratt’s return to form, Infestation, still being eight years away). All that said, this band never toured to my knowledge. And they never really penetrated the listening public’s ears either (based on the scant, and often old, comments on other sites that talk about the original release). So, what gives?
Well, first of all, this album feels like a labor of love from the oft-disparaged Blotzer. He holds his toms in check this time, providing different beats and a fresh perspective on what makes him (s)tick. I always thought that Blotzer had a signature sound based on his contributions to Ratt; this album suggests he is a more versatile drummer than I knew. Moreover, his name is all over the credits. He co-wrote all seven of the original tracks. And who were his writing partners? Corabi. Ralph Saenz. Jack Russell. Those aren’t slouches in metal. He also contributed some guitar, the bass parts, string and horn arrangements, and backing vox. Say what you will about this album. But I think it demonstrates that Blotzer loves rock and metal, that he leaned on some good friends for help with writing, and chose two stellar musicians to round out the crew.
The songs? There are seven original tracks and two covers. They are a mix and are, to be fair, a representation of the time in which they were made. That is not a slam. They are also likely a representation of the band members’ interests. The easiest observation? The slower songs have a Beatles-meets-Enuff Z’Nuff vibe (the album is dedicated to Robbin Crosby . . . and George Harrison, who passed away the year prior to this album’s release). You know, spiraling vocals, orchestral overlays, sing-along choruses. . . like I said, you know. The harder songs rock in different ways. All of this is largely due to Corabi’s vocals. Some songs suggest what was, with MC94 and his acoustic Unplugged in 2012, others point towards what is, with his recent work with the Dead Daisies. While you won’t hear the youthful abandon of Angora/The Scream, you will hear a vocalist in full control of his pipes, accompanied by two great musicians and assorted additional players who seem to know their place in the space(s) they are given.
“Dead Man’s Shoes” leads things off with a mid-paced groove, complete with acoustic strumming and layered vocal “oohs” and “aahs.” “Due Time” follows with a bit of that vibe mentioned above. But it is a more insistent track, with some metal bar clanking noises and fine guitar work by Marcello.
After a couple of pleasing if mainline offerings, “Fall Into Yourself” absolutely SLAMS! If this album had received more attention back in the day, this song could have been a hit. You get hints of MC94 from the music, but with an overall cleaner sound than that much-maligned album. “It’s All About You” slows things down noticeably, with a largely acoustic take on the ‘love lost’ theme. If anything, it is a solid song that suffers by coming after the previous one.
The first cover, “Something,” hugs pretty close to the Beatles’ original from Let It Be. Corabi shows his skills on acoustic lead and the band doesn’t embarrass themselves. “Someone I Don’t Want to Be” gives off some III Sides to Every Story-era Extreme vibes, and that is a compliment. It is also a song that highlights an overriding strength of this album: the backing vocals are on point (with three backing vocalists credited in the liner notes)!
“Take Me to The Limit” returns to that MC94 vibe, with a healthy dose of the more rocking side of The Dead Daisies, spinning off an ‘on the road’ tale of gratification (not, the song makes clear, love). “Limelight” is more of a good thing. And you can hear Saenz imprint on the pacing of the vocals/lyrics, while Blotzer holds down the backbeat and Marcello shows off a bit.
“Good Times” surprises the listener. Initially, it sounds like a return to those more acoustically driven songs from earlier: just Corabi singing and Marcello strumming. But then the song kicks off, with some nicely layered guitars, some slower interludes, orchestration, and a strong finish. “You know it feels good, like I knew it would.” I think the band is right!
The album ends with the second cover, “No Matter What,” originally off of Badfinger’s No Dice. This is another song that could have gotten airplay with some promotion. It both holds to the original’s DNA, while stretching out in good ways. In particular, Marcello’s guitar choices move the song in a slightly different direction, updating it in a way that feels right for the time and not wasteful. If anything, it is an energized take on a recognized classic.
Eonian seems to really care about letting missed opportunities see the light of day. And they don’t skimp on this CD. It is remastered. It features all the lyrics, thank-yous from the band members, and production details in the liner notes. This version also features the songs in a different order than the original release (which, depending on your point of view, might matter or might not). It is a nicely done reminder of a band many likely never knew existed, featuring members many of us still love. I urge you to check it out. No. I urge you to buy it and support the label and the artists. (Non-commission link!) We need this sort of music in our lives, even if we missed it when we were twenty-plus years younger. Both Eonian and Twenty Four 7 deserve our attention!
Thanks to the good people at Eonian Records for providing me with a review copy of the CD. Next up from Eonian Records: TAZ . . . and it is a two-parter!