01. Desert Moon
02. Lady Red Light
03. Face The Day
04. House Of Broken Love
05. Save Your Love
06. Mista Bone
07. The Big Goodbye
08. Back To The Rhythm
09. Rock Me
10. Can't Shake It
11. Once Bitten Twice Shy

Musicians:
Terry Ilous (vocals)
Mark Kendall (guitar)
Michael Lardie (guitar, keyboards)
Scott Snyder (bass)
Audie Desbrow (drums)

30 Years: Live From the Sunset Strip finds Southern California hard rockers Great White returning to the scene of the crime to celebrate their 30th anniversary. Recorded live before a packed house at the legendary Key Club on March, 22, 2012, 30 Years features a solid set list of fan favorites like "Desert Moon," "Lady Red Light," "Rock Me," and "Once Bitten Twice Shy." --- James Christopher Monger, allmusic.com

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1. Call It Rock N' Roll
2. Once Bitten Twice Shy (2005 - Remastered)
3. Mista Bone
4. Save Your Love
5. House Of Broken Love
6. Stick It
7. Old Rose Motel
8. Rock Me
9. All Over Now
10. She Only
11. Lady Red Light
12. Desert Moon
13. Face The Day
14. The Angel Song
15. Big Goodbye

Great White
    Mark Kendall – lead guitar, backing vocals 
    Audie Desbrow – drums, percussion 
    Michael Lardie – rhythm guitar, keyboards, harmonica, backing vocals 
    Scott Snyder – bass guitar, backing vocals 
    Terry Ilous – lead vocals

To be totally honest, Great White didn’t have all that many hits, but they’re all here on Absolute Hits, from their thumping take on Ian Hunter's “Once Bitten Twice Shy” -- so well known most don’t realize it’s a cover -- to the absurd “Mistah Bone,” the hard-hitting “Rock Me,” and the slow-grooving “House of Broken Love,” they’re all here in a relatively tight, 15-track collection that captures all their highlights and none of their slow spots. --- Stephen Thomas Erlewine, allmusic.com

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01. Out Of The Night - 2:59
02. Stick It - 3:57
03. Substitute - 4:23
04. Bad Boys - 4:20
05. On Your Knees - 3:49
06. Streetkiller - 3:58
07. No Better Than Hell - 4:06
08. Hold On - 4:12
09. Nightmares - 3:17
10. Dead End - 3:34

Mark Kendall - guitar, backing vocals
Lorne Black - bass, backing vocals
Gary Holland - drums, backing vocals
+
Alan Niven, Gary Gersh, Mark Wesley, Phylis Koch,
 Tom The Razzman, Michael Lardie - backing vocals

After signing on with industry mover and shaker Alan Niven (whose distribution company, Greenworld, also issued Mötley Crüe's first LP) and abandoning their original moniker, "Dante Fox", the newly rechristened Great White officially opened their bait & tackle shop for business with this eponymous 1984 debut. Alternately named Stick It in a few foreign markets (and graced with a sleazy band photo instead of the spare but classy, white-logo-on-black cover known to most fans), the album reworked several tracks from that independent EP, On Your Knees, and ironically still stands out from Great White's remaining discography thanks to its gritty production and straightforward songs, undiluted, as yet, by the group's looming commercial aspirations. Come to think of it, with the exception of a forgettable swing at the Who's "Substitute," the album's first half may just be the strongest song grouping of the band's entire career; highlighted by the menacing swagger of "Down on Your Knees" and "Stick It," followed close behind by fast-driving opener "Out of the Night," and rounded out by the more restrained, lyrically predictable, but nearly as effective grooves of "Bad Boys." Indeed, such was side A's testosterone-fueled feeding frenzy, that one had to flip over the original vinyl release to side B, before Great White finally started broadening their songwriting palette somewhat...for good and ill. On the upside, the impressive "Street Killer" actually threatened to deliver a first taste of balladry before evolving into yet another, menacing heavy rocker; but, on the downside, the atypically metallic, Judas Priest-derived "No Better Than Hell" and the simply God-awful, unfinished mess of "Nightmares" went nowhere fast. Neither did the utterly forgettable "Hold On" (despite glimpsing the simpler yet anthemic qualities that would anchor Great White's future formula for success), therefore leaving it to the album-capping "Dead End" (very reminiscent of early Dokken) to finish out the album on an energetic thrust of the hips, if not quite as convincingly as anything on side A. Imperfect as it was, though, Great White's first extended swim into the music business cesspool proved that they were easily up to the task of scavenging for fans alongside the L.A. glam metal scene's other, not exactly ultra-evolved, musical predators of the period.

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