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Project: Driver

Project: Driver is a studio album by the American heavy metal supergroup M.A.R.S., released in 1986 by Shrapnel Records. The one-off project featured renowned musicians Tony MacAlpine on guitars and keyboards, Tommy Aldridge on drums, Rob Rock on vocals, and Rudy Sarzo on bass, with the band's name serving as an acronym for its members. Recorded at Prairie Sun Studios in Cotati, California, and mastered at Fantasy Studios, the album consists of nine tracks blending speed metal, power metal, and progressive elements, highlighted by intricate guitar shredding, thunderous rhythms, and melodic vocals. The album's tracklist includes high-energy anthems like "Nations on Fire" and "Stand Up and Fight" on Side A, contrasted by more melodic ballads such as "Fantasy" and "You and I" on Side B, drawing influences from bands like and . Critics have praised its technical musicianship, with MacAlpine's virtuoso solos and Rock's powerful, Priest-like delivery standing out as defining features. Originally issued on , cassette, and later formats, Project: Driver has gained cult status among 1980s enthusiasts for its rarity and contributions to the emerging power metal scene, influencing later acts in the genre.

Band and project origins

Formation of M.A.R.S.

M.A.R.S. (an acronym for MacAlpine, Aldridge, Rock, Sarzo) emerged as a supergroup comprising guitarist , drummer , vocalist , and bassist , assembled as a one-off studio project to highlight technical prowess in the genre. The project originated from the band , formed in 1985 by bassist and drummer , initially featuring guitarist . After Goldy departed to join , founder and producer finalized the lineup by adding MacAlpine (discovered by Varney in 1984 via magazine) and , capitalizing on the label's focus on instrumental virtuosity for a high-profile recording. The collaboration aimed to attract a major label deal but was released on to recoup costs. Following initial rehearsals in the area, the members focused on album production over live performances, given their demanding individual schedules and the project's studio-oriented nature. This allowed the group to complete their sole effort efficiently while pursuing other opportunities.

Member backgrounds

, the guitarist for M.A.R.S., had roots in jazz-fusion through his early training as a classically trained and violinist starting at age five at the Springfield Conservatory of Music, where he studied under Marion Jensen for 12 years, followed by further studies at under Raymond Hanson at the . He began playing guitar at age 12 and developed a neoclassical style heavily influenced by , which positioned him as a leader in the neoclassical guitar virtuoso movement by the mid-1980s. Discovered by founder in 1984 through magazine, MacAlpine released his debut solo album Edge of Insanity in 1986, blending classical, jazz, and fusion elements into and metal on guitar and keyboards. Drummer Tommy Aldridge brought extensive experience from high-profile and metal acts prior to M.A.R.S., including stints with in the 1970s, the Pat Travers Band from 1979 to 1981, and from 1981 to 1984, where he contributed to albums like Diary of a Madman (1981) and (1983). Renowned for his double-bass drum techniques, including intricate fills and solos that became a staple of , Aldridge's powerful and precise style earned him recognition as a top session drummer in the early 1980s. Bassist Rudy Sarzo's pre-M.A.R.S. career featured key roles in the heavy metal scene, beginning with early collaborations alongside guitarist in during the late 1970s, where he helped shape the band's raw sound. Sarzo rejoined in 1982 for their breakthrough era, contributing to the multi-platinum album (1983), which solidified his reputation for solid, driving bass lines in aggressive metal contexts. From 1981 to 1984, he played with , auditioning successfully in early 1981 with Rhoads' endorsement and contributing to Diary of a Madman (1981) and (1983), while touring in support of (1980). Vocalist entered the metal scene through local s in the early 1980s, starting as a who also handled lead vocals, including stints with groups like and the Robert Allen Band before forming the with guitarist Chris Impellitteri around 1985. His powerful, melodic —capable of soaring high notes and anthemic deliveries—drew from influences like and , making him a rising talent in the nascent underground, though his early work remained rooted in secular . Each member's established reputation as a session —MacAlpine's precision, Aldridge's thunderous percussion, Sarzo's rhythmic reliability, and Rock's commanding presence—made them ideal selections for ' showcase album Project: Driver, with producer highlighting elite talent. Their prior high-profile collaborations in acts like and further underscored their suitability for this one-off project emphasizing technical prowess and melodic intensity.

Album production

Songwriting and recording

The songwriting process for Project: Driver was driven primarily by guitarist , who composed the bulk of the instrumental arrangements, drawing on his neoclassical influences to craft intricate guitar lines and parts. Vocalist joined the project late in the formation stage and contributed lyrics to multiple tracks, often rewriting or adding them on the spot during rehearsals to fit the existing music; he described the as both stressful and magical, as had some songs pre-written while others were developed collaboratively during sessions. Specific tracks like "Nations on Fire" emerged as group efforts, with input from all members including bassist and drummer on structure and rhythm. Recording took place over a concentrated period in 1986 at Prairie Sun Recording Studios in , a facility known for its analog setup and suitability for rock productions. The sessions were engineered by Steve Fontano, who handled tracking and mixing to capture the band's high-energy performances, with mastering completed at in . Mike , founder of , served as , guiding the process to highlight the technical prowess of the ensemble, including extended guitar solos and precise rhythm work. The production faced logistical challenges due to the musicians' demanding schedules—MacAlpine was promoting his solo work, while and Sarzo were in demand for major tours—necessitating a streamlined timeline that wrapped shortly before the album's release on November 6, 1986. This urgency contributed to the project's short lifespan, as and Sarzo soon departed to join , preventing further development. Despite these constraints, the focused sessions resulted in a polished recording that emphasized the supergroup's virtuosity without extensive overdubs.

Musical style and influences

Project: Driver exemplifies neoclassical with prominent elements, characterized by intricate techniques, infectious melodic hooks, and expansive anthemic choruses that drive its high-energy sound. The album's style reflects the technical prowess of metal, blending solos with rhythmic drive and vocal soaring to create a dynamic, aggressive listening experience. Its key influences include Yngwie Malmsteen-inspired classical phrasing in the guitar solos, which emphasize sweeping arpeggios and harmonic minor scales for a dramatic flair; Van Halen-style rhythms that provide punchy, groove-oriented foundations; and Dio-era operatic vocals, evident in the high-pitched, emotive delivery that adds theatrical depth. These elements draw from the supergroup members' backgrounds, with guitarist channeling neoclassical traditions and vocalist evoking power metal's epic vocal traditions. Instrumentation stands out through MacAlpine's virtuosic dual-guitar leads, which layer melodic and lines for added complexity; Sarzo's melodic bass lines that lock tightly with to support the harmonic structure; and Aldridge's thunderous drums, delivering precise, powerful fills and a driving backbeat suited to the genre's intensity. This setup underscores the album's focus on technical interplay without overpowering the melodic core. Thematically, the lyrics center on and , as seen in "Stand Up and Fight," where calls to "unite we'll beat the system" and "stand up and fight for your rights" capture the defiant spirit of metal tropes, promoting and collective resistance. Spanning 9 tracks and approximately 35 minutes, the album features a mix of high-energy anthems and melodic ballads.

Release and promotion

Commercial release

Project: Driver was commercially released in 1986 through in the United States, with limited international distribution managed by in select markets including and . The album launched primarily in vinyl LP and cassette formats, reflecting the dominant of the era for rock and metal releases. No edition was available at the time of its initial launch, as CD adoption in the genre remained limited until the early 1990s. Shrapnel Records, a label renowned for championing instrumental heavy metal and talents during the , positioned Project: Driver as a high-profile supergroup effort, highlighting the collective star power of its members from established acts in the rock and metal landscape. Subsequent reissues expanded accessibility, including a CD version released in on May 21, 1991, and later digital downloads offered through Shrapnel's catalog.

Marketing and distribution

Shrapnel Records handled the primary promotion for Project: Driver through its established channels for instrumental rock and metal acts, including advertisements and features in specialized guitar and metal magazines to target shred enthusiasts and heavy metal fans. As a small independent label, Shrapnel focused on grassroots outreach rather than large-scale campaigns, leveraging founder Mike Varney's monthly column in Guitar Player magazine to spotlight emerging guitar talents associated with the label, though specific ads for M.A.R.S. emphasized the supergroup's all-star lineup of Tony MacAlpine, Tommy Aldridge, Rob Rock, and Rudy Sarzo. Budget constraints typical of 1980s indie metal releases precluded the production of music videos, limiting visual media exposure. The album's one-off nature as a supergroup collaboration meant no dedicated supporting tour was organized, with members instead promoting their contributions through individual endeavors, such as MacAlpine's guitar clinics and instructional appearances that highlighted his technical prowess around the time of the release. Media coverage capitalized on the project's high-profile personnel, generating buzz in guitar-oriented outlets that praised the ensemble's fusion of and elements. Distribution was centered on and , with issuing the album in the United States and licensing it to for European markets, including pressings in the , , and other regions. A promotional release appeared in via Far East Metal Syndicate, but availability in and other global territories remained limited, relying heavily on import networks and fan-driven secondary sales for broader reach. The edition's relative scarcity has contributed to its collector's appeal, with copies on secondary markets fetching prices up to $60 for well-preserved first pressings.

Critical reception

Initial reviews

Upon its release in 1986, Project: Driver received limited coverage in metal publications, with attention focused on the technical prowess of guitarist Tony MacAlpine's solos. It was largely overlooked by mainstream critics due to the absence of hit singles, contributing to its commercial underperformance at the time. The album garnered responses in metal circles, reflecting the era's enthusiasm for shred-oriented releases.

Retrospective assessments

In the 2000s and beyond, reissues of Project: Driver have garnered renewed appreciation, with reviewers highlighting its status as a "forgotten gem" of metal due to its blend of technical prowess and melodic hooks. On , user reviews average around 85%, often citing its nostalgic appeal as a snapshot of 1980s power metal supergroup dynamics. The album has cultivated a dedicated within shred metal communities, valued for its high-octane guitar solos and as a must-have for collectors of obscure projects. Its influences, particularly Tony MacAlpine's virtuoso playing, have contributed to the evolution of and subgenres. Later assessments have revisited initial criticisms of the album's production, now often viewed as characteristically dated yet emblematic of the era's raw energy, while MacAlpine's intricate guitar work remains a standout for its enduring technical innovation. Rob Rock's high-pitched vocals, once polarizing, are increasingly regarded as fitting the bombastic style of shred metal. Project: Driver underscores its role in the label's history of instrumental metal innovation. In a 2012 interview, discussed opportunities for collaborations in music, noting his willingness to contribute to projects that allow valid input, in the context of his work including the M.A.R.S. album.

Track listing

Side one tracks

Side one of the original vinyl configuration of Project: Driver comprises four tracks that establish the album's energetic sound, blending riff-heavy structures with vocal-driven melodies and instrumental flair. The opening , "Nations on Fire", runs 2:52 and was written by , , , and . It serves as a riff-driven featuring political addressing themes of conflict and command, setting a bold, aggressive tone for the album. Next, "Writings on the Wall" clocks in at 3:01, also penned by MacAlpine, , , and Sarzo. This mid-tempo groove highlights Rob 's powerful vocals over a steady , with motifs of warning and prophecy woven into the for a reflective yet driving feel. "Stand Up and Fight" follows at 3:48, credited to the same songwriting team. The track builds to a call-to-arms chorus, accentuated by 's dynamic drum fills that add intensity and propulsion to the motivational about and freedom. Closing side one, "" is a 6:15 track composed by MacAlpine, , , and Sarzo. It features a neoclassical and guitar intro leading into inspired by the prophet's predictions, showcasing Tony MacAlpine's technical guitar work and providing a climax to the side.

Side two tracks

The second side of the original release of Project: Driver comprises five tracks that delve deeper into themes of survival, fantasy, and romance, building to a melodic close. "Unknown " (3:38) opens with themes of enduring catastrophe, driven by heavy riffs and Rob Rock's soaring vocals, written by the core quartet. It employs a fast-paced structure to convey resilience amid chaos. "Fantasy" (3:30) follows as a melodic piece exploring dream-like romance, with Rudy Sarzo's bass lines supporting MacAlpine's melodic guitar lines. Penned by MacAlpine, Aldridge, Rock, and Sarzo, it shifts to a more anthemic, heartfelt tone. "Slave to My Touch" (3:35) delivers sensual energy through mid-tempo grooves and intense solos, addressing themes of irresistible desire. Credited to the same songwriting team, its structure highlights the band's rhythmic interplay. "I Can See It in Your Eyes" (4:00) builds emotional depth with about recognizing true , featuring powerful choruses and guitar harmonies. Written collectively by , it balances heavy elements with melodic hooks. Closing the side is "You and I" (3:56), a romantic that provides thematic closure with celebrating enduring , highlighted by Rock's emotive delivery and MacAlpine's melodic solos. Written by , it blends soft verses with uplifting riffs.

Personnel

Core band members

The core lineup of M.A.R.S. for the album Project: Driver consisted of a supergroup quartet, each contributing essential instrumental and vocal elements across the recording. Tony MacAlpine handled lead and rhythm guitars on all tracks, providing the neoclassical shred style central to the album's sound, as well as keyboards. Tommy Aldridge supplied drums and percussion throughout the album, delivering the powerful, precise rhythms that anchored the arrangements. provided lead and backing vocals on all tracks, his high-range delivery complementing the project's melodic influences. played bass guitar on every song, contributing the solid low-end foundation drawn from his experience in prominent metal acts. The core lineup featured no guest appearances, with all four members performing on every track.

Additional contributors

served as executive producer for Project: Driver and founded , the independent label specializing in and that issued the album in 1986. Recording and mixing duties were led by engineer Steve Fontano at Prairie Sun Studios in , assisted by Dino Alden and Randy Vance. The album was mastered by George Horn at in . No additional musicians beyond the core supergroup contributed to the recordings, though backing vocals were provided by Bret Douglas, Dino Alden, Mark Tate, , the band members, and Tommy Cosgrove. The cover artwork was created by Guy Aitchison, with photography credited to Pat Johnson Studios. Lyrics for the album were penned by vocalist , while musical arrangements were handled collectively by the band members.

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