The solo debut from guitarist
Domenic Troiano came at a time when he was releasing two albums with
the James Gang. Charlotte Dillon's biography on the All Media Guide states that this album was initiated prior to his joining
the James Gang and completed during that phase of his career. There's a definite
Steely Dan feel to the proceedings, especially on "Let Me Go Back," and the first of two compositions co-written with
James Gang vocalist
Roy Kenner, "Try." The rhythm section for
Lou Reed's classic
Rock 'n' Roll Animal album, drummer
Penti Glan and bassist
John Prakash, appear here a year before they would cut the historic live album with guitar heroes
Steve Hunter and
Dick Wagner. The musicianship is superb, with a loose and funky feel, and the album looks expensive as well. A gatefold with band photos and interesting design, Mercury was no doubt serious about their artist. This was a year before that same label would release
Bachman-Turner Overdrive, whose guitarist
Troiano would later replace in
the Guess Who. This album is distinctive, though, as it shows
Troiano in an interesting light and identifies his versatility. Clichés like "The Writings on the Wall" and "Is There No Rest for the Weary" become songs, and the music is more suited to
Delaney & Bonnie than
the James Gang or
the Guess Who. In fact, the elements here do not really show up on his work with
Burton Cummings' final two '70s
Guess Who LPs,
Flavours and Power in the Music, which gives an indication of
Troiano's ability to adapt. From the
Delaney & Bonnie meets
Steely Dan style so prevalent on tracks like "Let Me Go Back" and "I Just Lost a Friend,"
Troiano concludes the album with an about-face, nine minutes and 40 seconds of "Repossession Blues." It makes for a well-rounded debut by a journeyman who has never really gotten his due. Maybe the bands he played with wanted formula, because allowed to stretch out, the
Domenic Troiano album is quite enjoyable and has lots to offer. It's also important to note the co-production work by
James Gang producer
Keith Olsen came at a time when
Olsen was engineering
Dr. John for
Jerry Wexler. That seems to have had an influence on this project. ~ Joe Viglione