Product Description
Personnel: David Coverdale, Jasper Coverdale (vocals); Doug Aldrich, Reb Beach (guitar); Timothy Druru (keyboards); Brian Tichy (drums).
Audio Mixer: Los Bros Brutalos.
Recording information: Casa Dala, Sherman Oaks; Entourage Studios, North Hollywood, CA; Grumblenott Studios And Villas, Lake Tahoe, NV; Snakebyte Studios.
Editors: Tony Minter; Devin DeHaven.
Arrangers: David Coverdale; Aldrich.
Three years ago, Whitesnake released Good to Be Bad, a comeback album that reached the U.K.'s Top Five. It walked the line between their brand of U.K. hard rock and `80s glam metal. On Forevermore, David Coverdale polishes the production -- a tad -- focuses the guitars more, and successfully fuses Whitesnake's various eras, and succeeds in spades. There is a new rhythm section with drummer Brian Tichy and bassist Michael Devlin. Forevermore commences with "Steal Your Heart Away," an old-school, nasty, slide guitar workout with a harmonica solo, that revs into a full-blown blues-rocker with a killer chorus. Guitarists Doug Aldrich and Reb Beach shine on the instrumental bridge. The album's first single, "Love Will Set You Free," is top-notch Whitesnake that nods back to the early years while grounding itself in the present. "All Out of Luck," and "Tell Me How" measure up in the same way. "I Need You (Shine a Light)" is an enormous surprise; its hook is so infectious it sounds like Coverdale's been listening to Cheap Trick's earliest records. The acoustic midtempo ballad "One Of These Days" carries a trace of country in its melody, hearkening back to the Restless Heart era. Coverdale reveals he's more than competent to write a fine, lyrically savvy love song, when he's not thinking with his dick. "Fare Thee Well," another acoustic number, showcases Coverdale at his most intimate. "Whipping Boy Blues" is a dirty slide rocker that reconciles both sides of the band. "My Evil Ways," with its calamitous drum intro, is punishing; Coverdale pulls out all the stops to deliver his finest vocal performance on the set. The album's true highlight, however, is in the closing title track. Over seven minutes, it begins as an acoustic number before morphing into a stellar Whitesnake power ballad. After a two-and-a-half minute acoustic guitar/vocal intro, the band enters with a "Kashmir"-like chord sequence; they keep it slow but increase the drama; it eventually explodes into a bone crusher with killer guitar solos and a gorgeous melody. Forevermore, despite its tighter arrangements and more polished production (and "Dogs in the Street," its lone loser cut) is Whitesnake at its Brit hard rock best. ~ Thom Jurek
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