Review: Billy Idol, ‘Dream Into It’ – His First New LP In 11 Years

Billy Idol has released his first new album in 11 years, Dream Into It. Billy joins a few other illustrious rock acts who have waited a decade (or perhaps decades) between albums, like the Stones, the Cure, and Peter Gabriel who all released albums last year (or late ’23 in the case of Gabriel). Although Idol has certainly not been idle (pun intended) over the last decade-plus since 2014’s Kings & Queens Of The Underworld. He’s released two stellar EPs, 2021’s The Roadside which included the fabulous tune “Bitter Taste” and 2022’s The Cage which was a brief blast of some really great Idol-style rock n roll. And of course, he’s toured quite a bit. I think in the time I’ve been doing B&V the Rock Chick and I have seen him both in Kansas City and in Las Vegas. With Steve Stevens in tow, you know you’re going to get a good show when you go to see Billy Idol! And of course he stayed at the top of my radar when he released an expanded, anniversary edition of his masterwork Rebel Yell last year. I’m still cranking his version of “Love Don’t Live Here Anymore.”

As I said, we were greatly anticipating this album at B&V. When I saw Billy in October of ’23 he mentioned from the stage he was working on new music and a full album would be out in ’25. After the hard rocking EP The Cage, I assumed that Billy would unleash Stevens and release a guitar frenzied rock album in the vein of his early work. I’m disappointed to say, this ain’t that. I think this album has a lot more input from producer Tommy English who’s more known for working with pop acts (Kasey Musgrave, Adam Lambert) – although in his defense he co produced/wrote The Cage, so the guy can rock – than input from Steve Stevens. Idol, Stevens and English all share (with others) writing credits on each tune. English is credited as playing guitar and keyboards… and is featured before Stevens in the credits. When great rock artists write most of their songs with a keyboard player, you’re going to get… well… a lot of synth. In that aspect, the synthesizers, this album is very 80s for Billy.

The first single they released was “Still Dancing,” an implicit sequel to one of Billy’s early 80s hits, “Dancing With Myself.” I dug that track and it gave me a lot of hope, but the Rock Chick felt the vocals were overly processed. I should always listen to the Rock Chick, she’s got a good ear. Although I stand by my thoughts on “Still Dancing,” it’s a great song, probably the best thing on the album. He followed that one up with the second single, “77,” a duet with Avril Lavigne. I have nothing against Avril, but “77” is an abomination. It’s a pop song, really more Avril than Billy. And yet, it was written by Idol/Stevens/English and some other dude. When I heard that song, one of three duets on the album, I thought…”Aw, shit.” The vocals are so Autotuned, it could almost be me on the lead vocals. Almost…even Autotune can’t save my voice. It does feature a nice solo from Stevens who, as far as I can tell, does his damn best to save this thing. I don’t want to sound like a dick, but Avril wasn’t even a gleam in her parents’ eyes in ’77. This song sounds like inviting a biker over to eat pizza at a middle school girl’s sleepover. It just feels wrong. I will say, “77” is emblematic of the lyrics on this album. It certainly finds Billy in a nostalgic mood with multiple references to his wild past and Teddy Boys.

As mentioned he does a couple other duets and I think he picked the right partners on those tracks. “John Wayne” features Alison Mosshart whose work with Jack White (who I just saw in concert) in the Dead Weather was stuff I really liked. “John Wayne” has a bit of that “Bitter Taste” vibe with acoustic leading to electric guitar which culminates in a great solo by Stevens, who never gets enough credit as an axe man. The other duet on the album is with Joan Jett who I’ve always dug, entitled “Wildside.” It’s slightly less successful. Billy and Joan sound like an aging punk rock version of the Mamas and the Papas during most the track. Once again Steve Stevens steps to the fore and delivers a Van Halen-esque guitar solo. That guitar work really saves the track for me.

Beyond that, there are five other tracks on the album. At 9 songs it’s got a real old school, vinyl vibe. The title track, which opens the album, is a nice Idol ballad. But I will admit, I was scratching my head a little bit. It’s fine that it’s the title track, but I was surprised to hear it open the album. When I drop the needle on an Idol album, I want that first song jumping out of the speakers to rock me like I’ve done something wrong and need to be scolded…not an atmospheric ballad. It would have worked better a little lower in the batting order if you ask me. I added it to my Playlist: Dreams so it’s got some merit. “People I Love” is a good midtempo thing full of regret for doing bad things. “Why do I keep pissing off people I love…” We’ve all been there. “Gimme The Weight” has a little more Stevens guitar so I connect with it better. Again, it’s another midtempo thing. It’s a “let me help, babe” kind of song. “I’m Your Hero” continues the mellowness. It opens with an a cappella thing. Then it goes into an acoustic strummer. The big choir-like chorus leaves me a little cold.

Dream Into It is not the Idol/Stevens rocking tour de force I wanted, but it still has some enjoyable moments. My favorites are “Still Dancing,” the title track, and the Alison Mosshart thing. I’m not sure what Billy was striving for here? His fans, myself included, like his harder edge stuff laced with the occasional ballad. This is a more synth-laden, guazy thing save for Stevens piercing through it with his wonderful guitar. Billy sounds like an older guy here, looking back and admitting mistakes which can make for some compelling music, ala “Bitter Taste,” but here I think he misses the mark. I enjoy Idol immensely but I’m not sure how much I’m going to return to this album except for “Still Dancing” which has been hastily added to my Playlist: Songs About Dancing.

This one might have slightly disappointed but have no fear rock n roll fans, I’ll still be out here with my ear to the ground, listening for any new rock n roll from the more mature artists we all used to love and listen to. The gems may be harder to find, but they’re out here!

Cheers!