| Musical Style: Metal/Hard Rock | Produced By: |
| Record Label: Independent | Country Of Origin: USA |
| Year Released: 2025 | Artist Website: Dustin Wray |
| Tracks: 13 | Rating: 70% |
| Running Time: |
On the plus side, Seventy Sevens includes eye catching cover art and a choice selection of cover tunes ad talented guest appearances. Unfortunately, the minus side to the August of 2025 independent tenth full-length album from vocalist and multi-instrumentalist Dustin Wray is lengthy. Production is somewhat thin and track listing inconsistent and bloated. Occasional spotty performance represents another downgrade.
Credit the artist otherwise for ameliorating the eighties metal and hard rock to Seventy Sevens with a host of talented guest guitarists including Rex Carroll (Whitecross), Carl Johan Grimmark (Narnia), Michael Roe (The 77s) and Nick Giannakos (Wretch). Rounding out the Seventy Sevens roster are vocalists Dale Thompson (Bride) and Scott Foster Harris (ex L.A. Guns).
Album opens to its stunning thirteen and half minute Theocracy style epic title track. “Seventy Sevens” takes a rock opera approach that reminds of Razorigami’s “Star Of David” with a panoramic historical view that chronicles events resulting in Daniel’s70 Weeks of Prophecy, with lyrics taken directly from the Book of Daniel (sort of like True Strength). Song also comes across in form of a duet as Wray sings the part of Daniel and Scott Foster Harris that of the angel Gabriel. Rex Carroll furthermore lends his abilities with several stretches of expert soloing- I never identified with him as a progressive guitarist, but his playing fits well within a progressive framework. Musically, it is a labyrinth like behemoth with voluminous twists, turns and time signatures - acoustic and piano based to metal and hard rock and back and forth again - as to go into adequate detail. Nevertheless, if a progressive music fan you will find yourself at home; if not there is more than abundant melody to warrant repeat listen.
Note: Later in the track listing is a second version to “Seventy Sevens” with Wray’s original ‘demonstration’ vocals- I did not feel like wading through another thirteen minutes so did not listen to it, but I will take it for granted that in fact artist vocals are of a ‘demonstration’ variety. Not to be critical, but placing two different versions of a thirteen-minute song on the same album is a bit much to ask of listeners- sometimes less is more.
On the upbeat, a super cool version to the Uriah Heep classic “Easy Livin’” (off Demons & Wizards from 1971) ensues. Artist pulls it off without a hitch, capturing the vibrant proclivity and classic hard rock vestiges to the original as abundant hooks and melodic bass draw in on straightaway listen. Song also allows Wray to highlight his complementary soulful, mid-ranged vocal abilities.
I find the subsequent Stryper cover “Free” a mess. Technically, it is a ‘metal remix’ to the version of the song appearing on artists 2022 album Freedom, but completely loses me with its disjointed feel. Problem revolves around how Dale Thompson’s guest vocals impress as forced due to relegated to occasional background screams, particularly for the refrain. During the early nineties Thompson was a stand in vocalist for Stryper, so the song would have much more of a groundbreaking impact if he received opportunity to handle lead vocals instead.
The brilliant metal version to the Phil Keaggy cover “Getting Closer” (off the album of the same title from 1985) represents one of albums highlights. I always appreciated the original keyboard version, but the fusion like shredding of Carl Johan Grimmark takes things to the next level not to mention the fact song stays true to the original in terms of mirthful mentality and rich melody. This one is worth the price of admission alone.
Second original song “A Higher Power” is solid as a mid-tempo hard rocker with an even aligning of burnished keyboards and heavier guitars building upon the worship metal flair to separate. This one also reveals some of albums production misgivings in that I feel rhythm guitar could give have give prominence to a bit more presence and low-end added impact. Not that production holds back the listening experience, but numerous recent independent hard music releases mirror greater levels of refinement.
“Never Going Back Again” contrasts with its up-tempo walk a fine line between metal and hard rock approach. Periodically interspersed piano lends a ballad like feel, while Giannakos’ striking lead guitar lends a high-energy allure. This one successfully manifests the eighties side to the artists songwriting.
Second skip button follows in “Can You Help Me”. Perhaps it is the abbreviated three-minute span or the straight on if not predictable rock ‘n’ roll feel, but the song does not do anything for me. No, not terrible but I also find it watered down- a much-needed element of muscle is missing here.
I am on the fence with “So Good Together”. Perhaps it is the new wave influence of 77s guitarist Michael Roe, but it amalgamates to many differing and contrasting styles as to be head spinning: an outside the box new wave, punk and hard rock coalescing interspersed with industrial keyboards and rap style vocals equates to a listening experience you are not going to forget soon. It is so weird and off the wall that I kind of like it.
“We Don’t’ Change The Truth, It Changes Us” represents another choice cut. What we have is one of albums heaviest, darkly woven with condensed rhythm guitar and prodigious bass combining for a straight on metal impact, but also intertwined with punctuating keyboards to further embolden the perspicuous eighties style melody.
“There’s Nothing He Can’t Do” carries over the eighties themes as a catchy melodic hard rocker. No, not heavy as its predecessor but focused all the same with its driven crunch in bolstering a commercial stance found in larger than life backing vocals playing a chief role. The mirthful if not buoyant feel to the song lends an endearing quality.
“Ya Svoboden”, a cover to the hit from the popular Russian band Kipelov, extends past seven minutes. With artist singing half the lyrics in Russian, song takes a semi ballad approach with classical keyboards, endearing melody and lustrous harmonies revealing a commercial partiality. Instrumental moments touch upon classic rock nuances with spacey keyboards and emotional guitar soloing of Giannakos.
“The Man He Wants Me To Be” closes the album as an AOR tinted melodic hard rocker. Fetching keyboards, acoustic signatures and abounding melody make a vibrant Petra like statement.
Despite its imperfections, Seventy Sevens equates to a solid albeit varied metal and hard rock album. It features top-notch material in form of the stunning title track, “We Don’t Change The Truth, It Changes Us” and “There’s Nothing He Can’t Do” not to mention choice covers to “Easy Livin’”, “Getting Closer” and “Ya Svoboden”. It deserves particular note the guest guitarist and vocalist appearances. Outside of that, however, I skip two to three songs, production is on the thin side and track listing excessive. Still, album is a well-rounded effort I see appealing to those into the seventies and eighties.
Review by Andrew Rockwell
Track Listing: “Seventy Sevens” (13:25), “Easy Livin’” (2:32), “Free” (3:54), “Getting Closer” (5:38), “A Higher Power” (4:44), “Never Going Back Again” (5;29), “Can You Help Me” (3:01), “So Good Together” (3:16), “We Don’t’ Change The Truth, It Changes Us” (4:21), “There’s Nothing He Can’t Do” (4:10), “Ya Svoboden” (7:16), “Seventy Sevens” (demonstration vocals version) (13:22), “The Man He Wants Me To Be” (5:12)
Musicians
Dustin Wray - Lead Vocals, Guitars, Bass, Keyboards & Programming
Dale Thompson - Lead Vocals
Scott Foster Harris - Lead Vocals
Rex Carroll - Guitars
Carl Johan Grimmark - Guitars
Michael Roe - Guitars
Nick Giannakos - Guitars
