No matter how derivative the songwriting, how cheesy the guitar leads are and how cringy the lyrics can be, there is something about old school heavy metal done right that will always be glorious. There are few examples that better illustrate this point than the self-titled debut album from the Los Angeles based quartet LIGHTNING STRIKES. Their story is somewhat of an odd one. Having originally formed during the L.A. glam metal boom in 1985, the band self-released one self-titled 7" single later that year before disbanding in 1987, only to suddenly reform in 2011. So, the band's first full length album has arrived thirty-one years after they formed (of total of nine of which were spent as an active band). The long wait is pleasantly evident in the album, as it sounds as if it is bursting with pent up energy and raw enthusiasm.

The utter, infectious joy of making music shines clearly throughout "Lightning Strikes", and is by far the album's most endearing quality. It drips with a sort of pure excitement that one might think only children are capable of still possessing, and as soon as you hear the bombastic opening track "Victim", you cannot help but break out into a silly grin. There is something about the familiar sounds of palm muted power chords, belted, exaggerated vocals, melodramatic solos and foot stomping drum beats that will always be a true delight, and "Victim" is loaded with all of it.

The following track, "Can't Cross The Rainbow", is also ripe with all these ingredients, but in the context of a slower tempo, a more pronounced groove and much darker harmonic content. These elements make "Can't Cross The Rainbow" the heaviest, most headbangable track on the whole album, and quite possibly its very best. However, the things that make "Can't Cross The Rainbow" an effective track are disappointingly rare throughout the rest of the album, with "Death Valley" being the only other track in quite the same vein, despite being somewhat unfortunate lyrically. But, as truly and wonderfully enjoyable as the highlights on "Lightning Strikes" are, it is worth noting that it is an album with its fair share of missteps.

"Doki no Sakura", a brief attempt of Japanese folk music that the band for reason decided to make, is as out of place as it is unpleasant to listen to. In addition, "Lightning Strikes" is weighed down by some fairly heavy handed balladry, most of which is fat that probably should have been trimmed off. The first of these to appear is the album's third track, "Fear", which, to its credit, is the best of the bunch. If not a highpoint of the album, robust dynamics and passionate soloing make the song redeemable. However, the ballads get a bit more eye roll inducing towards the end of the album.

"Stay With Me"is a trite hair metal power ballad with vapid, near meaningless lyrics. It is the kind of song that, had it been released by a B-list glam band in 1987, one can imagine the ridiculous MTV video, which probably would feature a black white montage of the singer and an attractive woman in hotel room, and then become full color with arrival of its overactive guitar solo. The last of the ballads is a cover of Deep Purple's "Our Lady", which lacks the commendable energy that Lightning Strikes bring to their own songs, resulting in a track that, while not cringe inducing like "Stay With Me", is thoroughly forgettable.

Lightning Strikes are as far away from the vanguard of metal music as it is possible to be, and the low points of their debut album are rather low indeed, but none of that changes the fact that, when doing what they do best, Lightning Strikes are ridiculously fun and enjoyable. The full impact of their best moments is highlighted by crisp, crystal clear production. When Lightning Strikes wave the battered, old battle-worn flag of classic heavy metal, they do everything just right, if nothing profound. It harkens back to the fun-loving, delightful elements of the past that, by and large, are painfully absent from the metal scene today.

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