Domenic Troiano Albums (4)
What The Critics Say
The third edition of Domenic Troiano on his own, Burnin' at the Stake, is more jazz and funk mixed in with the rock than his self-titled first solo effort from 1972, and features Randy Brecker and Richard Landis at the helm producing. This act is actually called the Domenic Troiano Band, which now consists of bassist Neil Jason, Fred Mandel, and Dave Tyson on keyboards and synths, with Steve Ferrone playing the drums. It's a different flavor than the subtle angst brought to the first album by drummer Penti Glan and bassist John Prakash, who were off recording The Alice Cooper Show live album for the shock-rocker around the time of this release. Compare Burnin' at the Stake to something lackluster like 1973's Roaring by Elton John's sessionmen, Hookfoot, to see the difference between a creative player who subs as a side musician, and those who lack vision and the ability to communicate outside of a given structure. Troiano communicates well vocally and instrumentally on nine of his own compositions, with a style completely different from his work with the James Gang and the Guess Who. This Capitol debut came four years after his second and final Mercury recording, and though the Steely Dan flavors return on an essay like "Peace of Mind," there is a more focused jazz direction inside the instrumental title track, "Burnin' at the Stake," and other songs scattered around these two sides. "Savour the Flavour" brings in the funk that dominates this project, and the main inspiration here seems to be the Brothers Johnson rather than Joe Walsh -- a hint that maybe co-producer Randy Brecker was listening to lots of Quincy Jones -- but the result is actually quite impressive. This isn't the James Gang's "Funk 49," and though much of the inspiration seems to be taken from radio of the day, the album still seems to have influenced a record like Bobby Caldwell's Top Ten hit from 1979, "What You Won't Do for Love." The traces of that are here two years earlier. There are sensual girl group backing vocals, the Brecker Brothers on horns, and smooth jazz on the exquisite instrumental "Lonely Girl," which is one of the album's best moments. "The Outer Limits of My Soul" is right up there with "Lonely Girl," only this number has eerie instrumentation, vocal trade-offs, and an identity for Troiano that may have been the direction the entire project should have taken. The spacy, airy montage of sounds seems to be more in line with what the guitarist is all about. Despite the album's tendency to intentionally fit into the times, the musicianship and execution is top-notch, with satisfying results. ~ Joe Viglione, All Music Guide
What The Critics Say
On his excellent self-titled solo debut from 1972, Domenic Troiano had proved himself to be a capable tunesmith, a surprisingly good vocalist (with a strong resemblance to Donald Fagen), and a first-class musician able to play in a style that was equal parts jazzy (à la Steely Dan) and rootsy (à la Bob Dylan and the Band). But perhaps because the Fagen-led Steely Dan subsequently hit the Top Ten twice that year, while Dylan and the Band were both in chart limbo, on this 1973 follow-up album, Troiano downplays the rootsier side of his music and concentrates on establishing a slicker, jazzier Steely Dan-like sound. In the end, in fact, Tricky ends up sounding so reminiscent of early Steely Dan that this record's few deviations (good and bad) from the Dan's trademarked jazz-influenced vibe really stand out: It's doubtful, for instance, that either the delightful rockin' violin solo on "If You See Me" or the dubious mall-Muzak strings on "My Old Toronto Home" would have been featured in a Becker/Fagen arrangement. As well, Troiano doesn't have the same wry, sometimes obscure, lyrical sensibility as Becker and Fagen, leading to a set of more straightforward songs (which, considering Steely Dan's occasionally pretentious lyrics, isn't necessarily a bad thing). Still, Tricky stands on its own as a good example of jazz and R&B-influenced pop of the early '70s, with a standout lead track in the nostalgic "All Night Radio Show." After listening to this album, though, there will be no doubt in your mind as to why Donald Fagen tapped Troiano for some post-Steely Dan session work...and why that work ended up sounding just like Steely Dan. ~ Rudyard Kennedy, All Music Guide
What The Critics Say
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, All Music Guide
