First, let's set up the events which led to the record. In Nov. of '99, while Dokken was touring Japan, Don told the record label and the Japanese press that he had a finished solo record. Then the label, in an attempt to keep product coming from Dokken members, wanted to do solo discs with Reb and I. The plan was to wait a year or so and put out a new Dokken record then. This is where the whole 'solo album' ordeal got its genesis. I then got home and, very excitedly, wrote my brains out and came up with what was to become the War and Peace Light at the End of the Tunnel record [although a few ideas I thought might be for Dokken]. Then in early 2000 the Rockstar movie came along, and everything got pushed back a little further. In that time Reb recorded and I kept writing and recording on down time from the film, and that's when I branched out into the whole Underground Moon thing. By summer the band did the Poison tour [I had finished the movie], but we were still talking solo material at that point. Then for whatever reason Don decided to put his solo album on hold to push for a new Dokken record sooner than later. This was okay with me, but this is also where the scheduling and time problem developed. I wanted to work with the release of the film to take advantage of Warner Bros. offer to co-op the marketing of the Dokken record, but this was not to be. There were, of course, a lot of issues going on, and each side has its own version of the events, but in making a long story short, Don took on the burden of the Dokken record himself.

That being said, I know a couple of the lighter ballady things on LWH were originally written for Dons solo acoustic record, and that would explain some of the extremely soft, seemingly out-of-place material. The last time I saw or talked with Don [my Underground Moon listening party in June of 2001], he played me early versions of Little Girl and I've Found. Honestly I didn't care for either or think they were very inspired, but often times in early demo stages all of our material needs work. But I was a bit scared when Don was telling me that he thought he was only writing "hits" anymore. That's a scary statement from any artist. It generally means that they are not going from the heart, and that's what that material sounded like to me. I don't believe you can intentionally write a hit. It's that magical combination of the right inspired song and the right timing for a particular kind of music, and I don't believe there's a formula for that. So I was feeling a bit uneasy at that point. Things did fall apart for my involvement in the record soon after that, although, again there were many other factors involved.

But back to LWH [I don't mean to be so long-winded, but I really don't want my critique to be heard without somewhat of an explanation]. I think the key is to view Dokken as Don's solo band now, not the band from before. He's got amazing players [as he did for his previous solo band], but I honestly don't feel there's any real or inspired collaboration going on. Judging from Don's tone in an audio interview I recently heard [where he referred to George and my collaboration as "hilaious"- and that George is in some kind of trouble], he sounds very tentative about John Norums role in the band. He claims John wants to go heavy, etc. That pretty much says it right there. The album truly is not heavy. We were a band where we all had equal say and involvement, it doesn't sound like that is the case anymore. What heavy material there is on LWH doesn't seem very inspired or at all original to me. In fact, one song had an exact rip of the riff in Til the Living End on it, and George wrote that. So it's simple- view it as a new Dokken. It is a shame that Don didn't let the band cut loose on the record, John being so restrained [and all I've heard about Barry is that he's an incredible player], but he's always wanted to have complete control, it just might take him a while to figure out a way to have that and still bring out the best in his band. Unfortunately Don has a work ethic which keeps him constantly surrounded with chaos, often in an attempt to appear much more productive than he actually is. That will have to improve, as well as his deliberate intimidation of those around him in order to feel better about himself, before there's a very smooth running machine that can accomplish much great music. But Don is extremely intelligent, and has a powerful survival instinct, so I wouldn't be giving up on him yet.

So in looking at the record from that perspective [if you still have the patience to be with me on this- shouldn't have gotten me started!], there are some bright points. Number one it's a great sounding record, sonically. Michael did a great job, and whoever else contributed to the mix did great work. I just think most of the tracks are very sleepy in performances [especially vocally], but still sound good. I also think this record may help Don redefine his vocal style. I've thought for a long time, and even confided in Don of this, that he could really have an excellent adult-contemporary singing career. I'm being serious, I really think that soothing quality in his voice is much better suited to a more mature audience than a rock audience. And there's nothing wrong with that. It's just that, like George calling his "Smoke This" record Lynch Mob, it's very misleading to call LWH Dokken- the band. I also think that even A/C material can't be quite as schmaltzy as some of the tunes on LWH, but vocally he sounds wonderful doing ballads. The odd thing for me, though, is that Don is usually much more clever and deep with his lyrics- which is really what makes a ballad. Too many obvious cliches, which Don usually hates. I think this may have all been part of his "commercial" approach [and I think his vision was very off and outdated even in a commercial sense], I alluded to earlier. But I do think Don could make some changes and have a very successful Don Dokken A/C solo career. I'm all for change, I just think it can't be forced, and I do think all the myriad circumstances surrounding the band and all the changes are unfortunate. But I'm still a believer in Dokken, and want to keep my eyes open to inspired change- as a fan. I've made plenty of mistakes in my career, so I know that things can turn for the better, and happiness and clarity can be achieved.

Well I realize I kind of went off, but there was no short answer to that question. After 20 years with those guys, I respect everyone too much to open my mouth without being very clear.

Take care- keep rokken!!!