SHYANNE – Shyanne [Remastered reissue] (1982) HQ *Exclusive*

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As requested now we have here a rarity: the sole album from American band SHYANNE and their self-titled LP from 1982. The album never was officially reissued on CD, however Retrospect Records did a very limited CDr edition some time ago, audio taken from vinyl.
This ”Shyanne [Remastered reissue]” is released by the band, remastered by themselves. The source is also vinyl (master tapes were lost) but sound quality obtained is very good.
Admittedly, we knew very little about this five piece AOR / Melodic Rock outfit who released this indie LP on Shade Records back in 1982. Lead singer Eric Burgeson would become FOGHAT frontman later.
Hailing from Seattle and originally named ‘Cheyenne’ (the changed name sounds similar but looks more fancy for 1982), SHYANNE offered an interesting variety of musical diversions, which becomes curiously evident even before you spin the record. Of the five members, no less than three handle lead vocal duties throughout the album, offering a real rollercoaster of unexpected twists and turns. Each of the three vocalists offer a very different style, and all of them lend their own talents to blend nicely with the albums’ 10 tracks.
Additionally, 3 members play synthesizers… those lovely analog pieces, so expect a Pompy sound too. At places SHYANNE sounds like LOVERBOY, at others 707 and THE CARS, then SUGARCREEK on the pompy numbers, even REO here and there.

Indeed, musically the styles vary from pomp to hard rock to melodic rock and even vibrations of ‘new wave’ from time to time on a few tracks, mostly due to the vocals.
Bass player Lee Perkins takes charge of lead vocals on opening track “Always Just Beyond”. He has what we consider to be the most quintessential AOR voice of the three singers, plug him into virtually any AOR band from the 80s and he’d fit well. Musically the song begins with a nice classic AOR guitar riff along with a sprinkling of acoustic chords to thicken things up a bit. It then continues along with some nice keyboard work filtering in to the mix, and although it never really gets rocking too heavy, it reaches a high point during the guitar solo. A short but outstanding 12 second bit of pickin’ with a fortress of keyboards to set the mood behind it. The solo sounds like it could have come off of even the most modern of AOR albums.
This song can best be summed up as a nice upper level mid-tempo rocker with a great guitar solo. As with most of the compositions on the album, it’s moderate in length at a littler over three minutes, but definitely quenches your AOR thirst quickly, and sets a nice tone as the lead track on the LP.

Second song is a favorite. Entitled “Simple Girls”, it’s a pompy AOR classic that has the trademark maneuvers of greats like SUGARCREEK written all over it! Leading the way from the outset of the verse parts is the steady piano tinkling of keyboard player David Christensen. Perkins’ bass lends the perfect backdrop to the initial keys and then as the chorus gels we hear some nice synthesizer and simple but essential drum work by Perry White.
Eric Burgeson does the lead vocal and his style on this track fits with the sound and tempo very well. The choral arrangement also features some nice background vocals that are all sung a few notes higher than the lead vocals ala LE ROUX. Lyrically, the band reaches it’s peak early in the album’s progression inside of this song. With lines like “My car has too many parts”, “My house has too many rooms”, “My cat has too many lives” and “My girl knows too many boys”, the band intrigues you with their playful ingenuity. It all fits together into a fabulous little song of nearly four minutes and although I feel that SHYANNE stakes their apex on only the second track of the LP, they leave plenty of interesting moves for the rest of the album’s eight cuts.

“Being Here” is a quirky, dynamic pop-rocker on which influences of THE TUBES, also THE POLICE is clearly evident, especially with Perkins back on lead vocal duties and displaying his best STING impersonation. The song isn’t amazing but it works well for it’s position and features more good bass work from Perkins and also some unexpected synth which shows up like the sudden glitter of fireflies swirling around in the dark of the songs moody landscape. Although it’s not the greatest of SHYANNE’s work, the track has its originality.

Running fourth is “I’m In Love”, a song rooted firmly in it’s lengthy (if not overly elooooongated!) chorus. Burgeson is now back on lead vocals again and sounds good fronting this radio friendly pomp tune. Although the chorus purposely dominates the songs’ three minutes, I feel this track features some of the best keyboard work on the entire record, albeit pushed into the background just a bit to showcase the vocal arrangements.
The song has a mellow tinge but remains steadily paced and rocky enough to clearly steer it away from being a ballad. Many different bands come to mind when I hear this song, perhaps a pepper pot of 707 and HYBRID ICE with a bit less spice and a dash more smooth. All in all, it’s a nice track and I’m glad it’s part of the album.

“Kool Kind Of Look”, with the intentional misspelling in the song’s title for effect, is a new wave track with British influences, but also many American bands trying the genre in the early ’80s. Despite of being a pop-rock track, there’s a lot of experimentation with synths, and a guitar picking like THE CARS.

Quickly, “Love Is Too Demanding” sent the guys to classic AOR again, with a strong keyboard / guitar interplay on the verse portions to lead off. This part reminds me a bit of later POINT BLANK material, circa “On A Roll”. Burgeson is once again in front on vocals. His vocals do become a bit more throaty on this song, but still maintain a fitting presence for the music. After the keys and guitar mesh long enough with Burgeson’s vocals they weave to an unexpected bridge with some surprisingly haunting background vocals. This all finally culminates in a nice strong chorus on which Burgeson flies solo and is aided by a big wall of keyboards. This song also ranks alongside the midtempo variety, but with the sharp edges of guitar riffs and Burgeson’s vocals along with the technical renderings of the keyboard work, it manages to pass by as a very enjoyable track. Once again a mixed bag of tricks that all comes together quite well. A good song on this album.

Seventh on the album and perhaps most enigmatic of all is “Wardance”. This is the only track on which keyboardist David Christensen sings lead vocals. He also possesses an impressive AOR vocal style, and is perhaps smoother than his other two singing cohorts. It’s a poppy track, with AOR parts and a bit of a rockier feel from the guitar sound. The song has a nice chorus that includes some interesting piano parts, and the quality and maturity of the musicianship is apparent throughout its’ four and a half minute running time.
The one thing about this band is their ability to take you completely off guard at any moment. They achieve that on “Wardance” in the solo towards the middle of the track. Not only does it feature some great guitar, but it becomes an entire passage that separates from the rest of the song in just a few short moments with pompy bombastic keys to boot! Very fine! It’s a good song that becomes one of the most likable on the album after a few spins.

“Oh, Jane” combines early FOREIGNER with MAX WEBSTER, a rocker by with a twist, less synths here and more guitar driven. Well, the keyboard are used, yet more to provide emphasis to the guitars.
“Gonna Make a Man Outa You” is guitar driven too, with a big fat bass too. Quite anthemic, it’s like a mix of NIGHT RANGER and LOVERBOY first albums. Good harmonies and certainly enjoyable axe work all over.

The albums’ finale’ is one of the best songs. “Summer Love” is an uptempo AOR rocker with some very melodious guitar and keyboards. The vocals are very strong and the songs’ bridge and chorus are some the most outstanding arrangements displayed on the record.
Eric Burgeson is at home on lead vocals for this toe tapper which in addition to the great rhythm section also includes a unique fingerpicking electric guitar solo within the interior of the track. This song reminds me a lot of STONEBOLT and similar bands who could achieve a smooth, almost mellow feeling whilst balancing it within a package of rock n’ roll grit. A remarkable effort from this fine undiscovered AOR act!

In closing, we can best summarize SHYANNE’s self-titled LP as a lost ’80s U.S. little gem. Perhaps not the biggest diamond in the rough, but without question one worth enjoying if you love this era, well recorded & produced.
Even when released in 1982, “Shyanne” was a rare piece as only 500 LP were pressed.
Highly Recommended

01 – Always Just Beyond
02 – Simple Girls
03 – Being There
04 – I’m in Love
05 – Kool Kind of Look
06 – Love Is Too Demanding
07 – Wardance
08 – Oh, Jane
09 – Gonna Make a Man Outa You
10 – Summer Love

Eric Burgeson – lead vocals, guitar, synthesizer
Lee Perkins – lead vocals, bass, synth bass
Danny Haines – guitar, synthesizer, backing vocals
David Christensen – piano, synthesizer, lead vocals track 7
Perry White – drums, percussion

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