In a recent interview with Guitar World, renowned guitarist Jake E. Lee shared his deep pride in Badlands (1989), an album he considers his finest work despite its lack of commercial success. Best known for his contributions to Ozzy Osbourne’s Bark at the Moon (1983) and The Ultimate Sin (1986), Lee revealed that Badlands, created with his band of the same name, remains a defining moment in his career.
“I thought it was perfect,” Lee told Guitar World. “There was nothing wrong with it. I didn’t know if it would sell, but I knew it was something I would be proud of for the rest of my life.” The album, featuring Lee alongside vocalist Ray Gillen, drummer Eric Singer, and bassist Greg Chaisson, has garnered a dedicated cult following who echo Lee’s sentiments, praising its raw energy and blues-infused rock sound.
Lee’s passion for Badlands stemmed from the creative freedom he found after his time with Osbourne. “I was getting a little frustrated,” he admitted, reflecting on his final days with Osbourne’s band. With Badlands, Lee and Gillen embraced a blues-rock direction, diverging from the dominant hair metal scene of the late 1980s. “Ray and I wanted to do the same thing,” Lee explained. “We just did whatever we wanted, and it ended up being more of a blues-rock band.”
At the time, blues-driven music was less commercially viable compared to the hard rock and glam metal that ruled the charts. However, Lee was undeterred, prioritizing artistic freedom over mainstream appeal. This confidence is evident in tracks like Winter’s Call, Hard Driver, and Devil’s Stomp, which showcase Lee’s bold, guitar-driven style. “I was pretty confident in my playing and the band,” Lee said. “I thought, ‘This is the best band in the world, we’ll open for anybody.’”
Despite its artistic triumphs, Badlands faced challenges that led to the band’s eventual dissolution in the 1990s. Industry politics and the mislabeling of Badlands as a hair metal act—amid the genre’s decline—contributed to the album’s obscurity. The record was pulled from shelves and digital platforms, leaving it largely inaccessible to new listeners.
Still, Lee remains steadfast in his belief in the album’s enduring quality. “I don’t think a player ever really gets to the point where they think, ‘This is it. I’m it,’” he noted. “But with Badlands, I came closer than most.” For fans and those rediscovering the album, Badlands stands as a testament to Lee’s uncompromising vision and a reminder of a blues-rock gem that deserves greater recognition.
