Elektra Records - 1983
8/10
Some argue that Dokken's first record dropped two years prior, but in the same way that Slipknot's Mate. Feed. Kill. Repeat. went from debut to demo, it's more or less easier to just regard Breakin' The Chains as a second demo beside Back In The Streets; the G makes all the difference, right? Properly, Breaking The Chains in 1983 would represent a far clearer idea not only of what was attempted the first time around, but would set a strong foundation of what Don Dokken and George Lynch would run with for the rest of the '80s. Moreover, it's one of those odd instances of something where I like every release in the "classic" era better, yet I find myself returning to it just as often.
We'll chalk this up to the fact that it's such an easy listen, bringing me to the overall point that it's about as "safe" as a metal album can be. Dokken would evolve into something more intricate with far more distinct nuances, but in a vacuum, Breaking The Chains simply fell into the sleazy pre-glam sound that dominated the scene in the early '80s (a great friend of mine calls this "VHS metal"). The general formula follows straightforward riffing with typical themes around partying, love, and life, topped off with warm clarity. Occasional falsetto belts and a beefy riff here and there add a dash of flavor, and the meat & potatoes approach lets things move together quite nicely, at least avoiding anything I'd call awkward.
Fortunately, a lot of the songs worked as what we'll call happy accidents. The opening title track may be the grand exception, as the ripping solo, catchy layered chorus, and ascending verses are pumped full of energy with more purpose than anything else on the album. Anything more that I love about this just happened to work nicely. "Nightrider" is the go-to example, driving with a stern rhythm that never lets up despite its less-than-exciting layout. Closer "Paris Is Burning" has loads of energy, utilizing drum kicks and healthier speeds meeting the gang chorus halfway, and "Seven Thunders" is a catchy pop-metal banger that I get stuck in my head quite regularly. Hell, I'll even throw some props towards "Stick To Your Guns" because of its bassy bridge and decent harmonies.
On the other hand, for every tune I'll hype up, there's one that could be skipped. I won't pretend "Felony" doesn't also get stuck in my head with its start/stop structure, but it's a on-the-nose nature and poorly aged lyrics don't help, which also goes for "Young Girls." Similarly, "I Can't See You" is held up structurally thanks to being an earworm, but there's almost no foundation beneath the surface. Others don't even get that much acknowledgement, as "In The Middle" is about as boring as it gets, and "Live To Rock (Rock To Live)" is a supreme let-down despite it's muscular charge.
If the previous paragraph is anything to go by, it may sound like I dislike Breaking The Chains, but despite its one-sidedness, I manage to find plenty of charm. It's a swift listen, showcasing promising foundation of what's to come, and not a single song is overtly bad. Some are just by-the-numbers sleaze-metal of the time that's serviceable enough, but can't distract from the obvious filler element. Similar to Halloween 4: The Return Of Michael Myers, the quirks and chuckles keep me coming back, making it a record that's here to stay.
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