In the time of the pandemic, many people reflected on their lives and revisited old relationships they may have neglected in the past. It was a new time of closeness while also being physically apart from those we loved and cared for. It seems some close friends from the greater Oslo, Norway hard rock scene got together to record something. What they have created with DAYS OF WINE's self-titled debut album is a high-class tribute to classic rock of the 60s and 70s. Leading the charge with the main lineup with his melodic and "raspy" voice is singer Leif Digernes. The songs were written around the lyrics of bassist, keyboardist and vocalist Leif Johansen but are meant to be musically ground in the classic rock genre. The lineup is rounded out by drummer Geir Digernes, guitarist and vocalist Tom Sennerud and guitarist Jon Johannessen. They had spent many years playing in different bands but had finally found the time and decided to create something together with the singular mission to write their best songs ever.

They are not alone though and recruited many other famous friends to join them along the way on DAYS OF WINE's debut. On the track "Angels in Disguise", American jazz and rock drummer Gregg Bissonette joins on drums, famous for working with the likes of DAVID LEE ROTH for his first three solo albums, RINGO STARR, JOE SATRIANI, TOTO, SANTANA, and OZZY OSBOURNE. He is also joined by his brother Matt Bissonette on bass who has worked with ELTON JOHN, STEVE PERRY, DON HENLEY and BRIAN WILSON. Jon Pettersen of the band AMMUNITION played the acoustic intro to "Healerman", Markus Klyve of TEKRO'S KINGDOM plays the solo on "Never Stop Believing", Lars Andrè Kvistum provides keyboards on "Spread Your Wings" and Ronnie Le Tekro of TNT and TEKRO'S KINGDOM provides additional guitars on "Paint the Sky".

DAYS OF WINE aren't going to knock anyone's socks off with their debut album but it's comfortable, capable, and tight. A lot of that uniformity and comfort comes from the style in which the backing tracks were recorded, with all the band members together in a room playing together, also owing to the near authentic 60s and 70s sound present on the album. From the opening guitar riff getting my blood bumping in the intro to "Seven Days" to the closing jam session of the final title track, it's an authentic romp through 70s hard tropes similar in style to TOTO, FOGHAT, and KANSAS. It exemplifies the Keep It Simple Stupid (KISS) style of songwriting of that era. I love that indulgence in soundscapes and reverence in multitudes while still slow rocking through tracks like "Healerman" and "My Last Kiss". But then there is the funky, off-kilter, cowbell-filled nostalgia of "Like the Others" that at first seems just unconventional enough to add variety. This is, plain and simple, a good time hard rocking record and well deserves another outing.