|
Kee Marcello Melon Demon Divine |
Frontiers Records FRCD 194 |
|
|
Swedish guitar hero Kee Marcello is best known for his part in three Europe albums as well as a stint with the mid-80's band Easy Action (which also featured vocalist Zinny Zan on the debut album) and later in Red Fun. But he has also recorded a previous solo album 1995's Shine On. Some 8 years later a new album is ready for release - the intriguingly titled Melon Demon Divine. While Shine On was a fairly laid back and sometimes acoustic driven record, MDD is anything but. This is a heavy rock monster, which sees Kee plugged in, turned on and cranked loud. And what is really interesting about this record is the sound. Kee has clearly realized that it is 2003 and not 1983 and has updated the sound, the tone and the songwriting process to accommodate a more modern rock feel, which suits this album down to the ground. What holds it all together apart from some inspired guitar playing and solid vocals is quality songwriting without forgetting memorable hooks and melodies. True that some of the tracks require several listens before the melodies become more familiar, but I find that in most cases, when that happens, the album's lifespan on my playlist is considerably longer and those that are instantly gratifying then instantly forgettable. Track By Track: Pre-Fix is a simple mood introducing intro. It runs smack into the pounding heavy rock of E.M.D. Everyone Must Die. This is a super heavy rocker, with tuned down guitars and a really dark feel to it. Kee's singing to the limit of his range, with a smacking drum sound adding impact. But within the heaviness is a simple, but great chorus that is equally heavy and changes the tact of the song - featuring a great melodic vocal. Enemies is just as heavy, but not quite as frantic, nor as dark. The guitar tone is still very deep and the song's verse is quite modern in its feel. A slight rap-vocal leads to a big guitar riff and vocal bridge that leads to the heavy melodic rock chorus, which is instantly memorable. The song has a couple of different personalities that mould perfectly together. Very intelligent songwriting which keeps the listening intrigued and wanting more. Blood starts off very tentatively. A subtle guitar riff and soft vocal moody verse lead into a chorus which crashes through the speakers. Heavy again, but the most melodic of the three songs so far. Epic kicks off with an acoustic guitar for the first time. The track sounds like a Goo Goo Dolls style mid-tempo pop/rock ballad. This track is modern rock friendly, with a chorus that is pure commercial heaven. Layers of vocals and a great hook make it a special feel good track that would be at home on modern rock radio anywhere. Raptor starts with a dramatic flair and dives into the heaviest riff of the album thus far. The super heavy guitar riff is tuned down to the darkest possible tone, with the song remaining that way, even right through the brief chorus. No big hooks in this one, but a great mood changer to the album as it is so far. If is a little experimental, playing around with varied riffs and no real verse structure. However, the chorus surprises me for being far more catchy within a song that really otherwise wouldn't be! Another example of the interesting song structures featured on the album. Falling Apart isn't one of the better tracks on the album, but the chorus remains catchy and memorable. Hey Romeo is a killer track. Something more traditionally melodic was needed about now and this track delivers that and more. This is a classic sounding melodic rocker, with a huge anthem chorus and more killer guitar riffs. The song gets bigger as it goes and features a great solo. Evil Ways is back to the super heavy and dark ways of the album's early tracks. This track is a little faster pace then others and rocks along at a great pace and features some frantic drum/guitar rhythms. But not only that, it features a killer chorus. Tattoo For Patto is another change of pace. This is a mid-tempo bluesy bar room rocker that features another strong hook and original vibe. Comin' Home returns to the dark heavy guitar vibe of the opening few tracks, with a more laid back ballad-esque verse that builds to a big anthem chorus that features a great hook and some pounding drum/guitar riffs. Ride On is an epic, uptempo heavy rocker that features a more classic heavy rock sound. Another enjoyable track. Added to the Frontiers European release are two bonus tracks not featured on the promo copy. They are: The instrumental version of Raptor, from the soundtrack of the US motion picture Blood Shot, and Can I Be The One co-written with tennis star Niklas Kroon, the Tennis Masters Cup official theme song, are bonus tracks exclusive on the European version of the CD.
|
| Razorback Animal Anger | Massacre Records |
|
|
Razorback features quite an established line-up of names. Rolf Munkes and Chris Heun on guitars, Marcus Bielenberg bass and Pierre Fienhold drums. Best of all, the sometimes under-appreciated voice of Snakes In Paradise frontman Stefan Berggren on vocals. Stefan has one of those voices which is perfect for either AOR, melodic or hard rock. In this case, its hard rock and easily the heaviest material he has sung on. This is prime European style hard rock, featuring a great heavy dual guitar attack and pounding rhythm section. What I really like is the fact not every song is pedal to the metal. The pace is varied and the songs allow Stefan to really sing to the best of his abilities, rather than just howl over the top. I swear at time I thought I was listening to classic Ronnie James Dio and at other times a bit of Iron Maiden. This is heavy stuff in places so much more so than the lightweight Snakes In Paradise, but every bit as classy. Each track has something to offer come chorus time it gives the listener something to hang on to along with the guitar riff and the addition of some harmony vocals really creates an inviting atmosphere. The band covers the classic Snakes In Paradise mood-rocker Fire And Rain, done true to form here, only heavier. The rest is all original material.
|
| Helix Rockin' In My Outer Space | Indie/Online |
|
|
I'm still not sure what the actual line-up of this Helix album is, aside from vocalist Brian Vollmer that is. I'm thinking it might just be him actually, as the sound of this album does not resemble classic Helix in any way rather it mirrors Vollmer's own solo projects from the last few years. [Line-up since aded] That issue aside, I find that the use of the Helix name packaging these songs together is a blight on the classic Canadian hard rock outfit. The guys released a couple of patchy albums before going their own ways in the early 90's, but in the mid-late 80's, they were on fire, delivering 2 or 3 really classic melodic metal albums. This is nowhere close. It's rough, it's raw, it's badly produced and poorly mixed and the vocals are as gruff as could possibly be imagined. I don't find any of the songs catchy enough to comment on, and the performances are all over the place or badly mixed at any rate.
|
| Vick Lecar Bad Influence | Indie vivklecar.com |
|
|
I'm a fan of Vick's music and he is also a genuinely nice guy. He's keen to promote this album not as a straight covers album, but as a personal interpretation of some favourite classic rock tracks. I accept that, but add that one would hope that is the case in most instances anyway. Vick's interpretations are all pretty rocked up this album is best played at loud volume. The tracks selected are also very interesting a good cross section that features tracks from Deep Purple, Led Zeppelin, Bachman Turner Overdrive, Queen, Santana and Rainbow. The delivery however is a little varied, and a changing production quality often hampers the ability of some songs to sound their best. This is generally a raw, loud and in your face affair. Sometimes it sounds a little too loud (Let It Ride) and occasionally the delivery could have used a little subtlety such as Sanata's Hope Your Feeling Better. Additionally Queen's Tie Your Mother Down is not good at all sorry Vick, but the vocal pronunciation during the chorus should not have gone on record. There are some highlights though and this is where Vick shines. Stormbringer, Out On The Tiles and Long Live Rock N Roll all rock out and provide some enjoyment. And naturally, the album features some fine moments of guitar shredding.
|
| AOR Nothing But The Best | Indie AOR5 |
|
|
AOR is basically Frederik Slama and guests. But the dude really knows how to pull those guests! This best of compilation adds 3 new tracks, remixes older ones and re-masters them all. That means that this is the band's best release and an ideal way to introduce yourself to them. As the name suggests, the style of music is pure AOR and smooth Westcoast laid back pop with an equal fill of keyboards and guitars. The guest musicians involved read like a who's who of the soft music scene Fergie Frederiksen, Tommy Denander, Goran Edman, Chris Demming, Steve Overland, David Roberts, Bruce Gaitsch, Michael Landau, Steve Lukather, David Diggs, Richard Page, Vinnie Colaiuta, Pat Thern, Michael Thompson and more.
Should you already have those, the remixes and new tracks featured here will be a big enticement.
|
| LA Guns Rips The Covers Off | Mascot Records |
|
|
Covers albums...are they evil? Are they necessary? Are they a necessary evil? I'm not a huge fan of them, but I do own a couple of classics the best I can think of being Andy Taylor's Dangerous album. Basically it's an excuse for the band to have a bit of fun and earn a little money without the pressures of writing a batch of new songs. There are a few covers outings around at the moment, so the public could become a little jaded as can the reviewer! But LA Guns are one of the first out of the current block of covers releases, so they get the benefit of the doubt. So providing the songs selected fit the band's persona, the production and sound is fitting any regular studio release and the band are indeed having fun, they can get away with such a release. Thankfully LA Guns make the required grades on this occasion. This is their second foray into covers, their first being the Cuts EP from the early 90's. The production while fairly stripped back and raw is solid enough and in keeping with the band's standards. The songs are an interesting selection that also fit the ideology of the band's history and it's clearly evident the band is having fun. Some work, a few don't. New guitarist Stacey Blades makes his presence known, tearing it up throughout the album. Phil Lewis sounds in his usual great voice, so that's about all one could ask. Favourite tracks include the cover of Australia's own Angels and their classic Marseilles, Rose Tattoo's Rock N Roll Outlaw (another Aussie classic) and Saxon's Wheels Of Steel. Dislikes Tie Your Mother Down is a bit average and certainly well overdone already and Donovan's Hurdy Gurdy Man is a little out there. And the two bonus live tracks are little better than bootleg quality, so regardless of the live energy they portray, the sound quality brings down the album.
|
| House Of Shakira First Class | Lion Music |
|
|
I've been a long time supporter of these guys right from when I heard their classic Journey styled debut and had my socks blown clear off. Their follow up On The Verge wasn't as consistent, but saw the band developing and reaching for a more unique sound. 3 combined the best of both those worlds, with anthem filled rockers and ballads combining with a tougher direction and a certain musical quirkiness that has become their trademark. On First Class the band continue their faultless musical standards, but 3 may still get my nod as personal favourite just because it features a few more of those over the top anthems I am a sucker for. But, First Class is - critically speaking - probably the band's best; it's a more cohesive record, managing to combine all the band's much loved elements into one tightly written and produced package. To define this band is a challenge, as their styles and influences are both diverse, but to newcomers, there would be no better place to start than on First Class, because it features a little of everything. It's the band's most varied record, while remaining consistent in sound featuring lots of little production effects and oddities that the guys are now famed for. It also includes a couple of the band's heaviest rockers yet, plus a couple of great acoustic ballads, a few darker, semi-modern tracks and of course, a few of those anthems of pure melodic AOR bliss. The production is flawless and proof that any band could sound like a million bucks given the right studio and engineer and the right quality of song writing there are no fillers on offer here at all. Something I love about this band is their song titles. One can't begin to imagine what each song sounds like from the titles given and within the song itself, the title is not always used or turned into a chorus hook. They really know how to craft a great song. Track By Track: Ain't Your Crowd is a left of center opening track but with these guys, nothing is ever 100% by the rules! It's a rocker, but mid-tempo, with some fine Eddie Van Halen styled riffs, moving into a mellower verse before building to a guitar driven chorus that takes several listens to best appreciate. A good song that becomes a great song. Uncontrolled is the band at their fired-up, hard rocking best. It's fast, furious and over pretty quickly satisfying those that love it loud. This will make a classic live track. You Are is one of those tracks that defines House Of Shakira. Quirky, very melodic, layers thick with instrumentation and effects and absolutely blissful come chorus time. This is one of the band's trademark AOR anthems, with layers of vocal harmonies sending it right over the top. Hey Lord will be another great live track, as it's driven by a great uptempo rhythm and hard edged guitar riff. It rocks along sweetly before diverting through a tempo changing bridge into a another big harmony filled chorus. Black And Blue Skies (Part 1) is a totally acoustic driven track that again showcases the band's talent at songwriting and that vocal sound! Building to a full band track mid-song, the song gets bigger and louder and is another clear winner. Creep is the band at their heaviest and sees a darker, more modern guitar sound filtering through. The verse has a mellower, somewhat dramatic feel, before the chorus bursts through and rocks out, with more harmonies and memorable hooks driving the song home. Black Barn is a little different again, but will be familiar in style to longtime fans of the band. It's a guitar driven mid-tempo rocker with a dark edge and well placed harmonies and another strong chorus. State of Grace is a lighter, more easy going track, which is uptempo in nature and equally driven by electric and acoustic guitars. The chorus is a breezy, feel good romp and is once again layered with harmony vocals. Landing is an odd little track which is seriously one of the album's best tracks. It's a guitar driven rocker with a mid-tempo swagger and a somewhat left of center verse structure. The without warning the chorus bursts through with what must be the biggest harmony vocals of the album, making this one of the biggest anthems. A rough mix of Celebration Bound was featured on the first MelodicRock.com CD. This is a tighter mix as expected and is another great rocking uptempo anthem from the guys. Sunshine Song is something a little different from the guys, starting mellow, but turning heavier and dramatic in true Led Zeppelin orchestral fashion. It's the band's epic clocking in over 6 minutes and featuring lush arrangements and changing tempos throughout. A brave move with a positive outcome indeed. Chicago Blue closes out the album with a ballad. This is a great emotional acoustic ballad with a really passionate and emotional vocal that is the highlight of the song.
Bands like House Of Shakira are what will ensure there is still a melodic rock scene in 2014. They trade on the past, while moving forward in their own original way. I hope more people can realize just what a first class outfit these boys are. They deserve to rule the world!
|
|
House Of Mirrors Night Flight To Paradise |
Escape Music ESM102 |
|
|
Finland's House Of Mirrors have been a working band for 10 years, but only now have they had the chance to finish and release their debut album. The guys have their own sound, but one that will still be familiar to fans of European melodic rock. The guys remind me of such European melodic rock acts as Eclipse and vocalist Goran Edman in his Street Talk, Kharma and John Norum roles. Not to mention other such Scani-rockers like Europe and Treat. House Of Mirrors' album is comprised of simple melodic rock in the European style, with an easy going nature that rotates between guitar driven rock tracks and lighter keyboard filled AOR. There's a touch of Yngwie bravado in the guitar playing and a strong lead vocalist in Pekka Rautiainen to drive the well crafted songs. Spirit of Freedom is a good, catchy album opener, with a solid chorus and well placed keyboard fill. Glory Days is darker, moodier mid-tempo track. Heart Is The Key features a tougher guitar driven sound, but a lighter harmony filled chorus. Deep Inside is the album's first ballad - very smooth and featuring some good harmonies. Top Of The World is a breezy, up-tempo keyboard driven commercial rock song. Deliverance and Alive are both more stripped back simple rock tracks. Not one of the album's best tracks. Long Lost Love is a tasteful acoustic driven ballad with a strong lead vocal. Searching For My Soul rocks things up a little, with a heavier and more urgent approach. Night Flight To Paradise is a solid rocker with some flashy guitar work featured alongside some good harmonies. Move On is another solid straight ahead rock track with a good chorus - a strong note to end the album on.
I rate it a good, solid album with a selection of strong songs that will find some fans out in the community. Another strong release from Escape Music. Fans of the labels' other releases should also embrace this one.
|
|
Edge Of Forever Feeding The Fire |
MTM Music 0681-101 |
|
|
Edge Of Forever have come up with a winner for their debut album. While it doesn't cover any new territory musically, it does feature song strong performances and some strong songs. Style wise, it may have been heard before, but at the same time, there really isn't anything like this on the market right now, so it will attract some well deserved attention. The guys play a brand of melodic European hard rock with a neo classical 80's styled shred twist, a la Yngwie Malmsteen. The guys enlisted vocalist Bob Harris of Axe which was a golden move, as his vocals suit the dramatic, guitar driven songs. Jeff Scott Soto provides a guest duet vocal on Prisoner, which further fortifies the classic Yngwie Malmsteen comparisons. There are a couple of longer, more epic rockers featured both Mother Of Darkness and the big ballad The Road We Walked On clock over 6 minutes and gives Bob Harris a chance to stretch his vocal abilities. The double kick drum of Bloodsucker is prime neo classical melodic metal, while I Won't Be A Fool No More proves that the best material hasn't necessarily been reserved for the first half of the record. Jeff Scott Soto pops back up again with some powerhouse backing vocals. The album was produced by Marcel Jacob, so the Yngwie Malmsteen and Talisman comparisons are even further entrenched. The production is solid without being too busy or too slick everyone has some room to breathe here and my favourite aspect of the album is that it's 10 tracks only, with no padding, no fillers and nothing that doesn't rock. The guys are hard working and have already started work on their next album, which will be produced by Bobby Barth. Nice to see that happening, as too many artists piss around for far too long between albums.
|
|
Tim Donahue Madmen + Sinners |
Frontiers Records FRCD185 |
|
|
Tim Donahue has spent the best part of 3 years writing and recording this new album, which is a major step up for him as songwriter and performer. Madmen & Sinners is a concept album that flows through it's story with ease. It's predecessor was Into The Light, which featured Hurricane vocalist Kelly Hansen. This is a far more intense record. Dream Theater vocalist James LaBrie is perfect foil for the music Donahue has laid out. Neither totally progressive in nature, nor totally metal, the material lies somewhere in between a moody and atmospheric combination of melodic metal with progressive twists, powerful vocals and intense instrumentation. What's more impressive is that Donahue provides most of that instrumentation and mixes it superbly so as never to sound like a one man band. What I like best about Dream Theater is their ability to capture a melodic hook and deliver it with uncompromising power. That is mostly the case here, although a couple of tracks with a stronger or more recognizable chorus would have been a bonus. There is a lot of music to digest and a few extra hooks would help that. Track by Track: Million Miles is a good way to start any album a 7 minute hard rocker with plenty of challenging rhythms and beats to impress most fans of LaBrie and indeed fans of progressive hard rock in general. Let Go is a great little 2 minute track that features a big fat organ intro, which gives way to a soft acoustic backed vocal, which in turn delves back into the organ and leads into my favourite track of the album - My Heart Bleeds. This is an epic and moody rock track that takes nearly two minutes to build to it's summit before rocking out. Classic early Dream Theater and European melodic metal at it's finest. Feel My Pain is a straight up, double kick-drum fired rocker. A strong lead vocal and some fine guitar work are the highlight of the track. Morte Et Dabo is a rather unusual Gregorian chant style track that runs 2 minutes and leads into a short spoken work passage before kicking into another dark and moody track, Children Of The Flame. This is a heavy progressive rocker with some intensity and a middle section solo that will impress fans. The End is a mid-tempo rock track with a moody chorus hook and some atmospheric music accompaniment. Wildest Dreams is a near 6 minute acoustic track with a little more chanting thrown into the mix, but is generally a nice soft track to break the intensity of the album. Master Of The Mind is a classic Dream Theater style progressive rock track that clocks in a little over 7 minutes. Madmen & Sinners is the culmination of the rest of the album. This 15 minute plus epic takes in all moods and aspects of what came before it and finishes the album off with a bang.
It's rather dark, very moody and could have used a couple of extra hooks, but overall is a fine piece of progressive music. And James LaBrie could not have been a better vocalist pick.
|
| Eclipse Second To None | Frontiers Records FRCD183 |
|
|
Swedish rockers Eclipse are back with a follow-up to their debut album of 2001. The band were applauded for their debut, which was an excellent slice of Scandinavian melodic rock, featuring some superb light and fluffy choruses.
A few changes have been made to what's on offer with new album Second To None. The band has toughened up their sound and are noticeably rockier this time around, with a beefed up production further supporting the cause. Everything about this album is better than the debut. A tougher delivery a more urgent tempo and a swag of great Scandinavian hard rock songs. The debut may have been more AOR friendly, but this album has a more cohesive and consistent feel and should cross over to fans of heavier acts. Always Standing starts the album with a chunky guitar riff and a strong vocal delivery that reminds me of a European version of Badlands with the awesome Ray Gillen at the helm. A super catchy and harmony filled chorus takes the song right over the top. All I Do features a slamming drum rhythm and a particularly strong moody and melodic lead vocal. Track By Track: Second To None starts in the vein of a Def Leppard style rocker before a groovy rhythm section and a sharp lead guitar guide the track through to a heavier and darker chorus that is a good contrast to the opening two tracks. Street Of Gold has a 70's rock heart and swaggers along with a thumping bass rhythm. A good chorus helps the darker rock track fit into the album perfectly. I'll Ask For You is an unusual ballad. It retains the powerful approach of the rest of the album, but has a sentimental heart especially during the softer verse, before turning heavy during the chorus. Add some strings and a piano and you get one interesting ballad. Nothing Between Us is a flat out hard rocker with intense guitar riffs and a powerful lead vocal, with several production effects adding to the atmosphere. A brief double bridge segment mid-song provides the only big hook of the song, but it works a treat and underlies the intensity of this record and the lift in overall songwriting quality. Road To Forever is a pure melodic rock anthem and a gem of a track. It features a Van Hagar style guitar riff and an instant chorus which is reminiscent of their debut. Driving the song is the same tough attitude behind the rest of the album. Body And Soul is another about face for the album. This is a tough, slightly modern hard rocker with a swaggering beat and a drum rhythm that sounds very much like the Motley Crue song Dr Feelgood. It's time for another pure melodic rock gem and Something You Do is just that. It has a moody start and features a laid back verse, but come chorus time, it's Def Leppard in full stadium rock form. Season of Life isn't one of my favourite tracks. It just doesn't stand out enough, but retains the same tough rocking approach of the rest of the album. Better World is a nearly 3 minute long acoustic ballad which really wouldn't have fit in anywhere else within the album, so is therefore a perfect choice to close out the album.
|
| Kick New Horizon | Majestic Rock Records |
|
|
Kick are one of the most underrated bands on the planet. The British hard rock rockers have a sound which encompasses the best of traditional British melodic hard rock and a more radio friendly slice of modern rock not to mention their own unique sound. One particular thing I like about this band is their vocalist. His melodic friendly tone is refreshing over so many other modern vocalists that 'talk' over the music or sing in that banal tone that drives me nuts. There is nothing I like better than a record that pushes the classic melodic rock format into the new millennium, but retains the power and the characteristics of the past. Kick seem to do it with ease and on New Horizon they might just have recorded their best album to date. It's also great to see the art of tasteful guitar soloing hasn't been lost on these guys. It's been a source of frustration to me that this album has been completed for more than a year, but is only now being released. I have no idea why any label would not have jumped on it sooner even a major label. But thankfully wise decisions were made at Majestic Rock Records and the album is upon us. Kicking off with one of the two tracks from 2002's EP, Electric Storm should be familiar to most. This is a rocker with a modern feel, enhanced by some well placed synth and production effects. As expected the vocals are powerful and direct and the lead guitar work helps keep it melodic. New Horizon is a heavy modern rocker with a darker tone, but come chorus time its classic hard rock all the way. A cleaver and well orchestrated track with a great guitar riff underlying the tone. Paralysed is the second EP track to be included on the album and is still a clear winner. I loved this track when it first appeared and my love for it remains just as strong. As the track develops it just gets more intense and that chorus with the soaring vocals just blows me away. Something To Hold On To is another instant classic. What a gem of a track powerful, intense and emotionally damaging. This classy rock ballad builds from a moody intro into a soaring modern rock anthem that U2 would be proud to call their own. High acts as a tension circuit breaker. It's been an intense ride so far and this easy going, feel good straight ahead rocker changes the pace nicely. Power Within gets the tone of the album back on the dark and moody path taken by the opening tracks. Another memorable track, this mid-tempo rocker relies on more production tricks and a strong vocal to guide it. Forever Yours is another classic. This is a highly original track that has an atmospheric modern rock intro, before a killer lead guitar riff appears and leads the listener into the powerful song that gets better each listen. Cleaver arrangements, great songwriting and that guitar riff make the song very memorable. The acoustic driven Watch Me Fly acts as another great change of pace in the album. This sentimental rock ballad intensifies mid-song into a full band effort, featuring a fantastic vocal driven chorus. Access Denied is another highlight this time it's a foot to the floor hard rocker with a strong modern rock vibe. The guitar riff, the dual acoustic/electric approach and a hard rocking chorus prove to be a memorable combination. The funky, semi-alternative Bone is one track I'm not quite sold on, but it could grow on me in future months, although the chorus is just as strong and memorable as elsewhere on the album. In 2 Deep closes out the album in a truly hard rocking fashion. It's one of the more aggressive tracks on the album and runs at double time most of the time! Not the catchiest chorus featured on New Horizon, but there is a great mid-track bridge and guitar solo that impresses.
|
| Crossfade White On Blue | MTM Music 0681-96 |
|
|
Crossfade's excellent White On Blue might just be the smoothest album of 2004. Following some excellent work with Street Talk, vocalist Goran Edman (Mr. Westcoast) was picked up to front this new project, which was formed by guitarist Lars Hallbaeck and keyboardist Richard Stenstroem. The band is rounded out with drummer Per Lindvall and his brother, the bass player Sven Lindvall. It's a bit of a rarity to have a full band featured on a Westcoast release so often programming and sythn elements are used to cover missing players. Not here this recording spares no expense and the listener is richly rewarded. Being a Westcoast/soft pop AOR release means it will not appeal to everyone. No blazing guitar solos here. But there is some phenomenal songs featured and some flawless performances by all involved. There are no weak tracks or fillers here as long as you like things soft or softer! The Day The Music Died is simply superb. It's a wonderful slice of rich, textured AOR/Westcoast with an instant chorus and some very enjoyable musical passages. Goran has rarely sounded better or more on song. Did You Really is straight from the Toto song handbook. Fans of early Toto, not to mention Toto IV and Fahrenheit will love this track. I can almost hear Bobby Kimball singing this. Flying is even jazzier a breezy pop number with Sax and Trumpet making an appearance along with Congas and Bongos mid-track. Classic stuff for fans of Steely Dan and the like. Deeper Shade Of Love is a super-sweet piano ballad with a fine vocal and nice sentiment, not to mention some great harmony vocals later on it the song. Thorns Of Life is another classy Mr. Mister/Toto style AOR track. I particularly like the piano parts within the song. Don't Really Matter is another uptempo pop/jazz number and closing the album is You, a track that could rate as the album's best. It's certainly the rockiest, with a strong guitar riff supporting Goran's powerful vocals. At the center of this great track is an instantly catchy anthem-like chorus.
A very good debut and as stated at the top of the review one of the smoothest records of 2004.
|
|
Evil Masquerade Welcome To The Show |
Frontiers Records FRCD186 |
|
|
I don't like the cover, I don't like the name of the band and the story behind the concept and music featured on this album is just too damn weird for my liking! But that said Welcome To The Show is not a bad album for fans of European metal. Evil Masquerade started with guitarist Henrik Flyman having more and more frequent nightmares and translating those into songs featured here. Original Royal Hunt vocalist Henrik Brockmann lends his talents to the project, which is probably the best aspect after the flaying guitar riffs and solos which saturate the vocals. As expected, the music of Evil Masquerade is uncompromising it's in you face, it's fast and furious and it's angry. What nightmare wouldn't be? A strong production and even mix of keyboards, guitars and that endless Yngwie Malmsteen neo-classical style of delivery complete with double kick drums throughout helps the album come together. There are a few odd little touches in the very theatric delivery of the tunes which could make some listeners cringe or laugh, but it's not enough to damage the overall album. It makes for an interesting listen at any rate...
There are a lot of releases in this genre out there, so sample before committing to it.
|
| Panik A Page Torn | Escape Music ESM100 |
|
|
These guys have a great sound. Panik hail from Canada, but don't have a sound that could necessarily pin them to a set location. I agree with press comparisons to Matchbox Twenty, Seven & The Sun, Goo Goo Dolls and even Nickelback. I'm not sure about the Audioslave reference in their bio - these guys aren't as intense, nor as heavy or as modern as those guys, but I would add modern pop/rockers MilesAbove to the comparisons. These fellow Canadians share that love of catchy pop rock harmonies with a modern twist and also share producers in Corey Mcfadyen. And add in the softer side of the these guys are fairly laid back with the overall tempo of their songs, but they certainly know how to write a catchy song. Track By Track: Crush is a solid album opener and sets up the album. Find A Way is a gem of a track. It's a commercial modern rock track with a very melodic instant chorus that I could see working on any radio playlist in the world. Amazing is a mid-tempo rock track with a softer chorus and mellow vibe. Again the layers with the track and the excellent lead vocals and catchy chorus make for a memorable track. Gear Girl is mellower again, and sound wise heads into a Nickelback ballad vibe. Another strong (but short) chorus is featured. It's about time for a rocker and Harder is just that. This showcases the harder edge of the band, but remains a fairly easy going pop rocker. Die For You is another mid to uptempo number that sounds a little like a more modern U2. An interesting song with a strong lead vocal performance. Another Thing Coming is believe it or not, a cover of the Judas Priest classic. This is the heaviest track of the album and is a good fun track. It would be cool to hear live. Fly is a tough rock ballad and one of the better slower tracks on the album. A powerful musical accompaniment helps the overall intensity. Friends is another catchy mid-tempo modern pop track. Middle is a little tougher clearly more aggressive than some other tracks, especially with the lead vocal. Life Worth Living is a laid back pop rocker along the lines of several other tracks on the album. In A Moment is a tougher more actively guitar driven track that showcases another aspect of the band's sound and is a good positive track to round out the album.
|
| Power Quest NeverWorld | Frontiers Records FRCD180 |
|
|
Power Quest is a very interesting band. The line-up is half English and half Italian, with British keyboardist Steve Williams the founder of the band. Formed as an outlet for his melodic power metal compositions, influenced by the likes of Stratovarius, Rhapsody and Freedom Call, the band have already achieved some success, and were the subject of some furious bidding by excited Japanese labels. Of notable interest is Italian vocalist Alessio Garavello. He has a very powerful higher pitched delivery, but does not suffer from any accent or language barriers. So often the delivery of vocal lines can be difficult for someone singing a language they are not native too. But not so here it's very clear and precise and is a large part of the reason why this album works so well. The other is the diversity of the music. The guys are clearly melodic metal merchants, with some furious double kick drum epics on offer, but there is another side too. The band aren't afraid to offer up some straight ahead rockers to balance the more complex tracks and are very keen to use as many hooks as possible. Take Temple Of Fire for example. Fast and furious, but instantly memorable with a pace changing chorus and some over the top vocals. Edge Of Time is even more straight forward, with a song that heads straight back into the 80's, employing a keyboard sound reminiscent of British melodic rock circa 1985. It's interesting to hear a band of this type do such a thing. For Evermore is the same an interesting change of pace within a largely heavier and guitar driven album. Rather good really! Into The Light is an album highlight for me power lead vocals, smooth drumming and a catchy hook and guitar riff. It sums up what these guys are all about, which is good songwriting and flawless performances, coupled with excellent album production and a smooth mix. The most out there track of the relatively straight forward album is the closing track a 10 minute plus epic which like all good progressive rock songs covers all bases soaring vocals, frantic double speed passages, keyboard fills, softer pace altering intermissions and surprisingly, there is still room for a catchy chorus!
In fact, they have their own attitude and style which really should be sampled, but best of all, they write very good songs for the genre in which they fit.
|
| Spin Gallery Standing Tall | Atenzia Records ATZ02021 |
|
|
The make-up of, and concept behind Spin Gallery is quite interesting. The band features three lead vocalists, with one Christian Antblad providing the bulk of lead tracks, with Kristoffer Lagerstrom and Magnus Weidenmo harmonizing and swapping for a lead vocal on a few of the album's tracks. The music is almost entirely provided by the very talented Tommy Denander, who co-wrote most of the album's songs. The production budget was obviously quite adequate, as the album sounds as full and as rich in texture as one would hope for as good as any major label release. What this album represents is one of the finest examples of its kind currently in the market place. The music is very smooth high-tech pop/AOR, all tightly produced and flawlessly executed. The production style and multi-layered vocals give the album a very modern pop vibe, which is why it has found chart success in their native Sweden. Style wise we are talking commercial Pop mixed with Westcoast, plus touches of modern pop and some traditional AOR for good measure. Fans of Tommy Denander, Mr. Mister, Joseph Williams era Toto, David Foster, King Of Hearts or Chicago will find a lot to like about Spin Gallery. Fans of modern pop acts like Invertigo, Martin Stenmark, Jamie Meyer and the like will absolutely love this. Track By Track: Standing Tall is as catchy as anything on any radio playlist right now. Perfect Westcoast/AOR with pitch perfect vocals and a nice little guitar riff from Tommy Denander. Heartache is a groovy, more pop orientated track featuring all three vocalists - meaning the harmonies are layers deep. A catchy chorus, but a much more pop orientated song for those into sweeter things. Am I Wrong is another uptempo pop track, this time with a hint of Joseph Williams era Toto and a very strong commercially friendly chorus. I Still Recall is one of my favourite tracks. This is a haunting, musically sparse track with strong layered vocals driving the track. At times especially in the chorus it sounds like Go On era Mr. Mister and has that Richard Page style vocal. No Looking Back is a little tougher and a little darker and makes for a good change of tempo at this point in the album. A strong lead guitar break is the backbone of the track. My Heart is simply a perfect ballad. This Clif Magness penned track is a soft and haunting pop ballad that has charm oozing from every line. A wonderfully sentimental and vocally rich track. Satisfied provides another well timed change in pace. This uptempo pop rocker lifts the album beautifully after the ballad before it and the chorus is one of the better anthems of the album. Need To Be Free is another ballad of sorts, but a layered mid-tempo one that flows very easily through the speakers. Living Without Lovin' is another very smooth and rather technical track certainly not your standard pop fare! A good chorus and some smooth musical chops make it an interesting track. And the lead guitar break is pure Steve Lukather. Waiting In My Dreams is a cover of a Mr. Mister track from their unreleased fourth album Pull. Very typical of the band back then and fairly true to the Mr. Mister version. To Hell And Back is a catchy uptempo pop rocker that features a nice AOR anthem style chorus and more layered vocals. It's one of the album's stronger tracks. The soft Westcoast ballad Grace closes out the album. Fans of Tommy will be very familiar with this track, having already been featured on the debut Radioactive album and also as an instrumental on the MelodicRock.com Vol. 1 CD. To be honest, another new track would have been a better fit. The band do a very nice job of the track, but third time around is maybe one too many for the song.
|
|
Deacon Street Project Deacon Street Project |
AOR Heaven AORH00007 |
|
|
Tommy Denander is back with yet another project. Deacon Street is another high point for Denander, and stands alongside the last Radioactive album and Spin Galley's debut as some of his finest work. What is the Deacon Street Project? Basically it's a gathering of friends by Tommy Denander and writing partner Chris Demming, who put together this guest list of AOR artists to record a bunch of tracks written, but yet not recorded on any of the other Denander projects. Featured on the album are people like Jan Johansen (Ignition), Jamie Meyer (Popstars), Bruce Gaitsch, Marcel Jacob, Magnus Weinemo (Spin Gallery), Lars Chriss (Lion's Share), Jeff Northrup (XYZ) and Sayit. This is a classic style AOR album, with a full production job applied this is not a collection demos, just unrecorded songs that were not used elsewhere. Classic AOR in the vein of Toto and a little of a Giant influence, but with that unmistakable Denander sound as used on Rainmaker, Radioactive, Sayit, Blind Alley etc, included. The tempo is mixed, with a couple of uptempo rockers, a few mid tempo ones, but also several slow, moody ballads the best of which is the excellent Before I Loved You. This track is a true AOR gem and will rate as one of the year's best tracks. A cover of Toto's Mad About You is another indication of Tomny's love of the band and his ability to play Steve Lukather, however the sound quality isn't as strong as elsewhere on the CD. The opening track is another highlight pure Giant style melodic rock, especially that trademark guitar riff. I mean this with the utmost respect, as Tommy Denander's output of late has been of the highest quality but there is such a thing as saturation and with such a distinctive guitar/production sound, there will be a limit to how many albums fans can or will want to buy. Though, I can't imagine anyone passing on this project.
Maybe not quite as cohesive as some other releases, but a well put together package nevertheless and as usual, it features some fine hooks, choruses and lead guitar parts.
|
| Chris Catena Freak Out! | Indie IMCR008 |
|
|
This is Italian vocalist Chris Catena's debut album. Chris comes from a musical family his father a famous tenor. But Chris' passion lay in rock n roll and his preference was for the most classic foundations of hard rock British blues based hard rock. It's an interesting sound that is the result of Chris' passion and his upbringing - I can't help but think his father's abilities have shone through to the son, as his voice at times has the definite approach of a tenor! Take Crazy People for example it sounds like Glenn Hughes meets Ken Tamplin meets Pavarotti. Unique, original and highly enjoyable. The album's style is rooted in blues drenched hard rock taking influences from such luminaries as Deep Purple, Whitesnake, Glenn Hughes and even a Gene Simmons fronted Kiss. Catena has a dark, rich voice that could cross genre's. His delivery style isn't going to be for everyone, but it is unique and well worth a listen. The album features 15 tracks, which means there is a lot to listen to and digest, but that also equals great value for money. There is also some substance to each track. There are up to a dozen guests on some tracks, with names galore featured. That makes for a lot of music and true enough, each track takes repeat listens to get to know and each new listen appears to bring something new to the listener's ears. The amount of guests featured and the fact that parts were recorded all over the world could amount to a logistical nightmare, especially with the mixing of the album. But Chris seems to be a talent behind the boards also, as this album is well mixed and balanced. Another feature again due to the guest roles on the album is the amount of free flowing musical interludes during songs. Quite often tracks will break from their paths to delve into an instrumental or solo passage before returning back on course to finish. It makes for some interesting listening. Track by Track: Crazy Man sounds like a track from the last Ken Tamplin album, with vocals and guitars going everywhere. A very catchy rocker with Kelly Simonz, Tommy Aldridge, Vitalij Kuprij and Frank de Groot all guesting. The song features a great instrumental mid-section. Freak Out Tonight is a duet with Glenn Hughes and also features Bruce Kulick, Tony Franklin, and a funky horn section. Throw in lots of organ and a funky beat and a typical 70's Glenn Hughes style funk/rocker is complete. Hey Man (Freedom Calls) is another uptempo funky blues number with a strong melody that features guests Stevie Salas and Tony Franklin, among others. Lady Starlight is a mid-tempo rocker featuring Bernie Marsden. Not one of the album's stronger tracks, but enjoyable nevertheless, thanks to a strong chorus. Desire is a mid-tempo funk rocker in the vein of Trapeze and Prince. It's a little laid back for me. Duran Duran's John Taylor guests on bass. Take Me Away is a faster paced, straight ahead rock track that gives the album a needed tempo lift. Dave Meniketti guests on guitar. A strong chorus is the song highlight. To A Friend is a bluesy ballad with that hint of Pavarotti again. Very 'expressive' I believe is the term. What You Gonna Do When Your Love Is Gone is a funky rocker and a duet with Jeff Scott Soto. Stevie Salas returns on guitar and Chester Thompson appears on drums. Sweet Talker is a cover of the funked up track from Whitesnake's classic days. What better track to have Mickey Moody and Bernie Marsden guesting on, along with Chuck Wright and Eric Singer. Quite a line-up! Don't Stop Running features Kelly Simonz and Tommy Aldridge again and is more or less a straight up mid-tempo rocker. Follow Me is a very soulful, almost Gospel like organ drenched rocker. Gimme Your Love features Stevie Salas and John Taylor again, this one again featuring a funky beat and some 70's inspired Hammond organ. Getting Tighter is a cover of the classic Deep Purple track again features Stevie Salas, Virgil Donati, both playing all over the track. The Stronger You Are, The Harder You Fall features Eric Singer, Chuck Wright and Bruce Kulick, and is Kiss influenced classic 70's hard rock track. Closing the album is the almost epic blues rocker It's A Long Way To Go. The track features the great John Lawton in a duet with Chris and is a very cool way to finish the album. A little over the top, a little bluesy and a little rock a perfect summary of what the album as a whole offers.
A well produced and well written set of songs and a fine debut by anyone's standards.
|
| Double Cross Time After Time | TB Records TBCD0109 |
|
|
Double Cross are a British melodic hard rock outfit whose music is the very definition of British melodic rock and AOR. This is a very enjoyable album for a number of reasons. The style of music is a hybrid of Dare, Ten and Pride, with their own signature style not forgotten. The band don't deviate from the traditional style of delivery for UK melodic rock, but that guarantees instant attraction for fans of the style and the fact that it's done very well indeed will only further their cause. The band has several things going for them. The album features a well balanced production and each member of the band can be heard thanks to an excellent mix. The guitars play off with keyboard fills, but still drive the songs and it's great to hear some solo breaks wherever possible. Vocalist Rick Chase has a perfect voice for the songs on offer, which is the other strength of the record. The guys know their craft and have recorded 12 very memorable tunes that all feature distinct choruses and memorable hooks. At times the band sound like Ten, in the style of their debut, and at times the tempo is stepped up a notch or two into a heavier realm such as on Valley Of The Kings and the almost progressive in nature Time After Time. The majority of the album is comprised of classic mid to up-tempo melodic rock and tracks like the very catchy opener Reach Out, How Do We Know and When We Were Young are first-rate rockers with a strong AOR vibe. Then there is the classic lighters-in-the-air ballad When Two Worlds Collide which sends the album through the roof. Two other ballads are featured on the album, but both are pretty rocking, all things considered. Only The Strong is a sentimental favourite and One Lonely Night is a dark and moody rocker.
A solid production, some very memorable songs and a varied but consistent delivery are the backbones of this very good album.
|
| Hobbit All For The One | Indie Hobbitcd.com |
|
|
Review By: Phil Ashcroft There's an interesting story attached to Texan pomp merchants Hobbit. Having had their 1st, 2nd & 3rd stabs at fame and fortune between the years of 1977 and 1985, the Tolkien-influenced foursome finally gave up the ghost after a string of record company promises saw recordings languishing in the vaults, seemingly forever. However, after a 14 year hiatus, the original line-up of Paul Turk Henry (bass, vocals, guitar), Gene Fields (vocals, guitar, keys), Richard Hill (lead guitar, keys), and Rusty Honeycutt (percussion) decided they should finally do something with the music they'd recorded. The albums Two Feet Tall and Rockin The Shire were remastered and independently released, and two years later with Lord Of The Rings fever at it's highest ever level, the band entered the studio for the first time in 18 years to try to do justice to one of the greatest stories ever told. Their self-styled Fantasy Rock is the perfect vehicle for a project of this type, and while the band have dabbled in Tolkien-esque themes before, this time they ve thrown caution to the wind and jumped in with both big hairy feet! Lord Of The Rings will no doubt be seen by some as a ridiculous concept to try to set to music, especially as Hobbit have done it complete with narration and a whole host of background noises and character voices. What they ve also managed to do is be faithful to the book (no missing Bombadil's here!), and instil a passion in the lyrics and their delivery that overrides the urge to guffaw, except of course the bits that are meant to be tongue-in-cheek. Even if you can t get into the late 70's/early 80's pomp sound of the band, you can't knock their attention to detail or the phenomenal amount of work that's gone into making this CD such a complete tribute to something that has touched so many. Musically they're a bit of an enigma. Sounding not a day more modern than Equinox to Grand Illusion era Styx at their heaviest, or Yes/Starcastle at their lightest, while the elitist in me wants to compare them to bands like Rail, The Hunt, and Morningstar. Is that any clearer? I thought not! A track by track review would be pointless as there are 32 different tracks, 20 of them are individual songs or instrumentals, while some are just dialogue and are untitled. To be honest the style is dictated mostly by which part of the story you're at, and as it's a concept album in the truest sense of the word, there's plenty of scope for light and shade. From the joyful pompy opening of Everywhere and In The Shire, to the serenity of the Eleven cities Rivendell and Lothlorien, and to the depth's of despair in the Mines Of Durin, Echoes of Mirkwood, and In Mordor, all heavier and menacing but no less tuneful. Every piece conveys the appropriate mood, sometimes the folkiness of Jethro Tull or early Heart (The Wind and the Way and Hey Bombadil), and sometimes something far darker and more sinister (Nazgul and Witch King), each one sung in character and with additional spoken voices in the background for atmosphere. The sheer volume of work that s gone into this is impressive, and made all the more charming by the fact that the narrators can't seem to stay in whatever accent they're supposed to be speaking. But all this would be pointless if there were no songs, and thankfully the guys can write a catchy tune or 10. There are some standard melodic rock moments among the Gene Fields sung hooks of Everywhere, and especially Destiny Chaser, not to mention the all-too-short and uplifting farewells with it's killer guitar solo, and half-a-dozen or so decent ballads. On the other side of the coin it's the darker Paul Turk Henry vocals, left-field arrangements, and superb basslines of Echoes Of Mirkwood, Mines of Durin and the brilliant Whispers Of Gollum which score the highest. Lyrically Hobbit have done the books proud with all the relevant character and place names incorporated, and while it s not the best produced album around, it's adequate considering the sheer amount of instrumentation, voices, and background noises that are heavily layered throughout.
|
| Empty Tremor The Alien Inside | Frontiers Records FRCD178 |
|
|
Review By: Phil Ashcroft After a lengthy gap since 1999's Eros & Thanatos , Italian prog-metal band Empty Tremor have finally found a replacement for departed singer Giovanni De Luigi and are about to release The Alien Inside through Frontiers records. In the past, as enjoyable as Empty Tremor were, they still lacked that vital spark that would take them into the big league. For the most part they seem to have addressed the problem by slightly simplifying their sound, as well as employing the talented ex-At Vance singer Oliver Hartmann, whose deeper rich tones are a significant improvement on De Luigi's higher, somewhat shrill, delivery. There s no doubt that in prog-metal circles Dream Theater's Images & Words changed the world as we know it. Many bands have tried and failed to emulate that sound, most would even argue that DT haven t matched it since either. The likes of Vanden Plas, Shadow Gallery, and recently the excellent Dreamscape have come the closest, and now Empty Tremor and their talented keyboardist Daniele Liverani (Genius, Khymera) have thrown their hats into the ring with this valiant attempt. All the trademarks are there, the big drums of Stefano Ruzzi, the intricate riff-work of Christian Tombetti and Marco Guerrini, the athletic basslines of Dennis Randi and the exquisite keyboard prowess of Liverani himself, but it's through Hartmann that ET have unearthed hooks where there were none before. Not that this is a masterpiece of Dream Theater-like proportions, but the band have grown to take in different sounds and styles, and have learned that sometimes less is more. As a result, the album is more mature due to the band s ability to take a step back and use the instrumental flurries sparingly rather than beat you over the head with them for the entire duration. My main problem with The Alien Inside is that a) there's nothing original here, and b) the last song is totally unnecessary and detracts from the total enjoyment of the disc. Let me explain with a track by track: The Alien Inside - Big symphonic Dream Theater-type sound with many time changes, very long intro before the vocals come in but Oliver Hartmann s rich voice is perfect for this style. A good attempt at a Metropolis style song. I Found You - Lighter and more melodic with great keyboard sounds and nice harmony vocals. Guitar crashes in later on, but a simpler and more melodic approach on a great song with superb vocals and guitar solo. An album highlight and one that will be played frequently for years to come. A New World - Another big symphonic rocker with a retro Kansas vibe about it. Some fluid guitar work and Vince DiCola/Kerry Livgren-style melodies, good vocals, and not a million miles away from what Shadow Gallery do at their most cohesive. Who You Really Are - More Dream Theater/Shadow Gallery instrumental interplay with a simple vocal melody that works really well. Chunky guitars and busy drums with Hartmann doing his best Dio impression. Great instrumental mid-section on which Daniele Liverani shines on keyboards, see if you can spot the bit from Jeff Scott Soto's Stand Up. Don't Stop Me - Another Metropolis -style song with a straight commercial vocal line and a superb performance from Oliver Hartman. The simple vocal/tricky instrumentation thing really works well and the guitar work is particularly appealing. Stay - Simple Eric Martin-style acoustic pop song on which Hartmann does a great job. Nice harmony vocals again and a nice change of pace. The Love I've Never Had - A more recent and heavier Dream Theater sound with Hartmann singing at the bottom of his range. Musically, the same themes that are used on the opening track keep re-appearing. Lots of frantic double-bass drum work and John Petrucci chord progressions that eventually segue into a reprise of The Alien Inside. The Alien Outside - The same theme yet again but by this time it s wearing a bit thin, it builds nicely but ends up being far too repetitious. It s a good melody but flogging it to death doesn t make the listening experience any better.
|
| Magellan Impossible Figures | Inside Out Music |
|
|
Review By: Phil Ashcroft This new Magellan CD, their 5th, came as a bit of a shock for a couple of reasons. Firstly because they released an album last year, and with leader Trent Gardner involved in so many other things (Mullmuzzler, Explorer's Club, and the Leonardo Project to name a few) there's usually a three or four year gap between Magellan releases. Secondly, and even more strangely, it's not through Magna Carta, the label that's put out all Gardner's previous work, and with whom the man himself seemed inextricably linked. The change of label is, on the surface, surprising, but delving deeper the split with his previous label was less than amicable and has left the band in considerable debt. If Gardner's trying to raise the band's profile in Europe, after all it's the biggest market for Progressive Rock, then signing with Inside Out is the best move he could have made. The good news is that Impossible Figures sees Gardner's excellent run of form continue without a hiccup, and while the album still features his unusually quirky time changes and varied mixture of musical directions, most of the songs continue the more straight-ahead and hard-hitting direction of last years Hundred Year Flood epic. Aided as usual by Trent's brother Wayne on guitars and basses, and augmented by excellent local Sacramento drummer Jason Gianni, the CD seems a bit disjointed at first as there are only six actual songs and three short instrumental preludes. However, with repeated plays it becomes obvious that the instrumental bits (Gorilla With A Pitchfork, Bach 16, and the Kansas-like Confessor's Overture) set the scene for the three most outstanding pieces of music that follow them. Trent Gardner's keyboards are the main focus as usual, and his Keith Emerson meets Kerry Livgren melodies are all over the lengthy Killer Of Hope, which twists and turns in Gardner's inimitable manner, never staying in one place for too long but returning frequently to the catchiest bits. Wayne Gardner is no virtuoso, but a skilled team-player who provides some modern sounding riffs that prevent the huge synth-led numbers from being too retro, although at times he can be so like Steve Howe it's untrue. The whole mix is somewhere between Dream Theater and early Kansas with plenty of light and shade. Late For Church is catchier still with Gardner's ever improving voice showing that working on Steve Walsh's album has rubbed off on him. Lyrically it's all very introspective with religious overtones, but far from being preachy and it's left to the listener to interpret the song as they wish. Musically though it has elements of the old and the new, with Gardner's complex vocal melodies being entirely his own. Hymn For A Heathen continues the same lyrical theme and is a great piano-led opus that wouldn't sound out of place on Song For America or Leftoverture. If it's mind-boggling variety you crave, A World Groove has everything from African rhythms, World music, pan pipes, funk & rock, and that just takes you up to the first chorus, and if that isn't enough the harmonies are a dead-ringer for Ambrosia. So far so good, but in the great Magellan tradition of inconsistency the CD takes a dip with the less cohesive Counterpoints, where some superb ELP/Kansas moments are spoiled by some funky sections where the lyrics don't seem to fit. Also album closer Feel The Cross is very dark sounding with a fuzzy noise that's closer to the Canadian FM's electric mandolins than guitars. Also they choose to finish the song with an acoustic guitar/bass part that's too close to Yes' Starship Trooper for comfort. I may be wrong and it may be meant as a tribute, but either way it doesn't really work.
|
| UFO You Are Here | SPV |
|
|
UFO return with the legacy of their past behind them a new line-up has emerged out of the departure of Michael Schenker and it seems he won't be back this time. But never say never in the land of UFO, where anything is truly possible. Joining band regulars Mogg, Way and Raymond are guitarist Vinnie Moore and drummer Jason Bonham. Both Moore and Bonham have extensive and respected histories and although their joining UFO is a little surprising, both fit the band rather well. The overall energy of the band seems to have lifted, with the songs of You Are Here all representing an air of positivity it's clear to see the band enjoyed recording this album. Sound wise, Bonham's authorative drumming ties in beautifully with Pete Way's bass playing and Vinnie Moore proves himself to be a great fit for the band, helping UFO cover their blues rock roots, while also providing all the required guitar acrobatics expected of any role that Schenker previously played. The production from Tommy Newton is also fitting not too over the top, nor too technical or crisp, but nor is it rough or loose where it shouldn't be. However, there are a few points to be made about the album. I found myself getting half way through the album without realizing how far into the album I had come. There is a distinct lack of memorable choruses in play. Where there are choruses, they are short and rather featureless. The instant hooks of classics like the early days and recently Walk On Water are not present. I like the sound, I like the delivery, but their definitely needs to be some work done on those choruses! Additionally, thanks to some information from long time Vinnie Moore fans, some of the tunes included on this new album are his old solo demos. Maybe the band are a little out of ideas then?
More work is needed on the overall songwriting - the rest the band has nailed down. I also hope that this line-up can stick it together for a while to come yet, as there are some promising signs of what is possible.
|
| Snakeryder D.O.A. | Metal Mayhem |
|
|
Snakeryder hail from New Jersey and have recorded an album of classic 80's styled, first in the air, hard rock.
Like 1988 continued on without an ending, this guitar driven slice of hair metal will impress those that keep one ear open for anything featuring the classic vibe of this genre. With a whiskey-soaked rasp, vocalist AJ Fedz brings warmth and familiarity to the sound, which combined with plenty of melodic guitar riffs and some well placed harmonies, makes for some pretty easy listening rock n roll. As the bio suggests, thoughts of Y&T and Cinderella come to mind, but additionally, this album might have something very positive to offer fans of other bands of the era such as Julliet, Motley Crue, Paul Shortino and even early Von Groove. The album's sound is well placed in the 80's decade, but the production is impressive enough to avoid any suggestion of being dated. Most of the album rocks at a good pace, with just one mid-album ballad providing a change of pace.
Nothing that hasn't been heard before, but certainly good enough in quality to ensure that it will reach a number of classic era rock fans and have them humming away to a new name.
|
| Bulletboys Sophie | Indie BBR001 |
|
|
The Bulletboys were never better than on their killer debut, but since then they have been a little hit and miss, with not all fans agreeing on what album represented the band's best work. Last heard, the BB's took and indie route in recording a very loose and raw surf-punk style album called Acid Monkey. It was certainly not their finest hour! The boys are back now, albeit, not close to their original line up, but at least closer to their original sound. They remain an independent act, marking the record through their own website. Sophie sees the band return to their party rock best, a sound that isn't far from any early David Lee Roth fronted Van Halen album which was always their best trademark comparison. There are a few modern/alternative tricks turned within the album, but for the most part charismatic frontman Marc Torien and guitarist Tommy Pittam stick to the formula of their early days. The only problem is the quality of the overall package. The style is loose, raw and in your face which is fine but the quality of the recording or overall sound is well below average. At times it sounds too loud and a little distorted and the mix can sound pretty muddy in places. It makes it very hard to appreciate the song themselves. And at a little over 32 minutes in running time, the value for the buck comes into question.
|
| TNT My Religion | MTM Music |
|
|
It's a tough call. Its 2004 does a band attempt to recreate its glory days by returning to the sound fans have called for, or do they continue to try and update their sound in an attempt to reach new fans and appeal to programmers of today's rock. The best possible outcome is an album that is based around a band's classic sound, but yet manages to incorporate fresh new elements and updated production values to create a blend of the best both worlds. Take Danger Danger's last couple of albums as two of the best examples of this approach working in their favor. Many bands that take this route fail due to poor songwriting. Regardless of style, you can't make a great record without memorable songs. As is often the case, yesterday's best bands struggle to match their past form or move so far away from it that few are happy. But not so TNT. After two quite experimental releases, My Religion sees the band make the toughest of calls they have returned to their much loved classic sound, while not forsaking the advances they have made as songwriters and performers. In short - they have nailed it. My Religion is such a breath of fresh air; it will have others lining up to emulate its design and will be used as a yardstick for other releases for some time to come. TNT have reached into their past and brought back the power, the style, the melodies and the harmonies from such classics as Tell No Tales and Intuition. They have mixed those elements with an updated and more contemporary production and a seriously rejuvenated kick-ass delivery. The performances on this album are also something to behold. Tony Harnell has never sounded more powerful. What's really pleasing is the variety in Tony's vocals. He has a fabulous ability to deliver a gut wrenching growl one moment and an ear piercing scream the next. This album sees the return of the much loved high-pitch vocal and accompanying harmonies, especially come chorus time, but with new warmth and depth to the overall vocal. I seriously think Tony just gets better and better. Ronni Le Tekro is also on fire. His guitar riffing is at times as heavy as it has ever been, really driving the songs of My Religion. Special mention of the soloing must be made. Within this album are some of the best guitar solos I have heard in many years and it's great to see an album with a contemporary feel, big choruses and guitar solos! Far too many artists have forgotten that this is an important aspect of any rock album. And the rhythm section of Morty Black and Diesel Dahl have never sounded better. The album features a collection of fabulous songs they all have their unique individual identities, yet flow perfectly together and make up an extremely cohesive album. The production quality is nothing short of a world beating, major label standard. If only more albums sounded as good as this and had as much life and zest to them. The album was produced by Ronni Le Tekro and Tony Harnell, but an important factor is the mix by famed producer Tommy Hansen. Tommy could not have done a better job of piecing the parts together and has balanced the vocals, guitars and the rhythm section perfectly. The fact is that My Religion is a masterpiece. A perfect album. I just can't get enough of this. It's one of the very best I have had the pleasure of reviewing since I started this site and is easily one of the best melodic hard rock records in recent years. Whenever I have had to take a ride over the past 4 months, the only album that has come on every single journey has been this one. And it's the whole package to great artwork, great songs, great sound. After several weeks of continuous playing, there are still new elements to the album to discover and as each week passes, a different track is named as favourite. There are several moods within the album, which keeps things really interesting and brings the listener back for more. It's musically interesting, quite complex and definitely challenging, yet remarkable accessible. Track By Track: I wouldn't call Invisible Noise a predictable album opener. It bursts out of a short intro with a trademark Harnell scream, before falling into a mid-tempo groove. Tony's vocals are powerful, yet subtle and the track features a simple but effective chorus melody. Add in some random guitar soloing and a mid-track break and you have a really interesting track. She Needs Me is just killer - a real feel good anthem. This is one of my favourite TNT tracks ever. It features a dark and heavy guitar riff and a truly powerful lead vocal that simply explodes come chorus time, with a monster hook and that trademark high-pitch delivery. The beefed up rhythm section and dark and moody feel to the track accompany the song's theme perfectly. Surely this will be a main contender for Song Of The Year. If She Needs Me is TNT 2004, Lonely Nights has the vibe of early TNT, with a style that wouldn't be out of place on Intuition. The chorus is another burst-through anthem, with more soaring vocals and a great Queen style guitar solo mid-track. A sing a long favourite and one of the more traditional style TNT tracks on the album. My Religion is perfectly placed as the dark, hard-edged, aggressive rocker, with Ronni's guitar riffs right in your face. Tony's lead vocals have a menacing edge to them and take my word for it don't stand anywhere near the speaker when he let's scream before the guitar solo. Ear bleeding stuff! One of the album's heaviest tracks and a fantastic example of a more aggressive and hard rocking TNT. Fans will be familiar with Give Me A Sign which was also featuring on last year's EP. This version has been remixed into character with the rest of the album, with a more prominent lead vocal and even more guitar further up in the mix. It was one of the two best tracks on the EP and fits in perfect context with the full album. Perfectly is the album's first ballad. This is classic Tony Harnell powerful and soaring vocals take the track right over the top, especially during the sentimental chorus. The song starts acoustically and builds throughout, into a full band track by the end. There's a hint of Tony's Morning Wood project about this song. After the ballad, You'll Be There gets things rocking again, with a strong mid-tempo pop rocker with a real groove and a happy go lucky feel to it. The chorus is very subtle, but gets better and more obvious with repeat listens and will be another favourite for melodic fans. Flow is a brief acoustic segway into the moody hard rocker Live Today, another track from the EP. This was my pick as best track from the EP and again, it fits perfectly into the scheme of the album as a whole. I never get tired of hearing this, with Harnell in great voice and letting fly with a dark and aggressive lead vocal. Changing tact is Everybody's Got A Secret - another track that is destined to be ranked a fan favourite. Like Satellite from the EP, this track features a very pop groove and has a distinct 80's feel to it. The uptempo, feel good pop/rocker with an instantly catchy chorus, will be one of the easiest tracks to appreciate and is a great balancing track to the darker and moodier elements within the album. Everything U R features another classic TNT guitar riff, but the song itself is a little different and shows yet another personality within the album. It's not the most immediate track, but rather is another grower, with a simple, but effective chorus. The last full track of the album is the haunting ballad Song For Diana. This is unlike any other TNT track I have heard. The Celtic styled ballad features a sparse, but complex arrangement and a female vocal from Tony's talented wife, to accompany his lead vocal, which really draws the listener in. The Last Word is another short and simple instrumental piece which closes the album.
All said and done, the album flows perfectly from the opening to the closing, with each track between another gem. It's one of the best albums TNT have ever recorded and quite possibly the best ever. I've had their classic Tell Not Tales for 17 years now, so My Religion has a lot to live up to, but so far it's doing a brilliant job. I can't imagine any TNT fan not impressed with this release. It's just that good. In fact, I can't imagine any rock fan not impressed with it.
|
|
House Of Lords The Power & The Myth |
Frontiers Records FRCD 179 |
|
|
Like no other band I can think of, House Of Lords have endured more obstacles while putting this album together. There were problems securing the rights to the name again, Gregg Giuffria pulled out at the last minute and the recording time has been spread over nearly 3 years or 8 if you include the very first demos recorded for a re-union. With such a long wait, expectations were high, which is why the result will find opinions mixed and extremely varied. There's a lot to like about the new House Of Lords album their 4th overall and first since 1992's Demons Down. However, those positive attributes aren't necessarily the same ones the majority of fans are going to be looking for. The name House Of Lords conjures immediate thoughts of power melodic hard rock with soaring choruses, bombastic and pompous arrangements and glorious lead and harmony vocals, all bathed in a rich layer of keyboards. The Power & The Myth has little of any of this and therefore could disappoint those looking forward to a sequel to any of the band's previous albums. And James Christian's vocals fail to add any spark to songs that really rely on him to lift them. When you take a look at it, House Of Lords have never recorded the same album twice. House Of Lords, Sahara and Demons Down are all quite different from each other, yet the band always ensured the albums featured the common thread of the elements already mentioned above and most importantly they always featured extremely memorable songs. The massive debut album is one of the all time great melodic rock masterpieces, filled with anthem after anthem. Sahara was tougher and heavier and more guitar dominated. Demons Down was the quintessential big budget, big production American melodic hard rock record. It should be no surprise that The Power & The Myth is quite different again. Not only that, but its some 12 years later. One should expect a new and updated approach, but it's also fair to say that one could reasonably expect some of the band's most loved traits be included. The Power & The Myth is one of 2004's most highly anticipated albums. The fan base knows what they want, but the band clearly has their own desires. House Of Lords are one of my all time favourite bands because no matter the style, the hooks and anthems have always been there. But this time around things are definitely a little different. More work than ever is required to get into this album. This is a modern melodic rock record, with a distinct retro vibe and strong hints of Zeppelinesque flair. The instrumentation from Chuck Wright, Lanny Cordola and Ken Mary is more intricate, technical and features a slight progressive flair. Not your typical 80's rock arrangements, that's for sure - which is a positive thing. There is no greater joy than listening to musicians who know their craft, really stretching their chops and clearly enjoying it, as Chuck, Lanny and Ken are doing here. But the down side is that a few elements from the past are missing. Gone are the big anthems. Gone are the multi-layered hands in the air choruses and gone are the layers of harmony vocals. I admire the band's desire to move on from everything that the past held, but I don't think the fans will be so open minded. Most alarmingly, the vibe of the whole album is quite flat. Despite the challenging and complex arrangements, the songs remain quite laid back. And the main reason for this is the vocal performance from James Christian. James is heralded as one of the greatest melodic rock singers ever, but his performance here is one of the worst I have heard from him. I am not sure why this is so, but there is a distinct lack of passion on this album. The lead vocals are very business like - more like a hired hand than a passionate member of the band. It just doesn't come close to comparing with his efforts of the past. I can't help but think Christian recording his vocals in Florida and the absence of Gregg Giuffria has left the album without that magic ingredient that their past albums contained. The keyboards that are a part of the album are just not prominent enough. The songs from The Power & The Myth are gathered from the 1995 re-union, right through to freshly written tracks from the last couple of years. Although taken from various sessions, the songs are pieced together very well and the album manages to flow quite smoothly from start to finish. Track By Track: Today opens the account for House Of Lords 2004. The track has a softly building into, which features a raspy and laid back vocal, surrounded by some cool instrumentation and a slightly progressive touch. The chorus bursts through the dark mood of the track, but is over before you know it. It's quite subdued, but gets better with repeat listening and is one of the better tracks on the album. The track's retro vibe continues during the end instrumental passage, which features a synth-string arrangement. The track leads directly into All Is Gone, which is a little tougher and again features some intelligent musical arranging. But the chorus is too flat and doesn't bring a suitable break from the rest of the song. Am I The Only One has an interesting intro, with a Middle Eastern feel to it. The track itself keeps on course from its laid back intro. It's a slow to mid-tempo rock ballad with a lush arrangement, but no major hooks. Living In Silence features a solid drum rhythm to open the song, followed by some fancy guitar work from Lanny Cordola. The whole rhythm of the track makes for interesting listening, but the chorus isn't memorable at all. James does sound like he has come to life a little, with some added vocal trciks, but fades again quickly. This track reminds me a little of an updated Sahara sound. It's certainly more aggressive than the first few tracks. There must be something a little amiss when one of the most powerful tracks of an album such as this, is an instrumental track. But The Power And The Myth is just such a track, with a sense of urgency lacking elsewhere. It's a musically brilliant little passage that wouldn't be out of place on a Rush album and leads perfectly into the next track. The Rapture is another Middle Eastern flavoured track one which has it's origins in 1995. This is another track that would fit the Sahara album and sees James Christian in much stronger voice. Still, the style of the track is somewhat different from the band and despite some great arrangements and a perfect production, might not translate to classic House Of Lords fans. But I like it a lot I like the transition from the instrumental to the track and I love the complex musical base. Man Who I Am is probably the album's most accessible track. This is a sweet mid-tempo pop/rock ballad that features a good melody and a memorable chorus, as well as a fairly lush arrangement with Ken Mary sounding particularly good. The strings and add orchestration and depth seldom seen in melodic rock, making this track an album highlight. Bitter Sweet Euphoria is a track fairly well removed from anything the guys have done before. The guitar work from Cordola is fabulous, as is the thumping bass from Chuck Wright. It continues to prove that the album's second half is stronger than the first, but could have used a bigger chorus and a more powerful vocal. Mind Trip is another song featuring strong instrumentation and some excellent production effects, but due to it psychedelic rock feel might again see some traditional HOL fans again feel a little alienated. But the second half of the song sees some of the band's most intricate jamming to date. Lanny, Chuck and Ken take on a truly progressive sound and let fly. It's pretty clear the guys are enjoying this chance to flex their musical muscle. The track moves directly into the album's closing track - Child of Rage. This serious song about child abuse is another album highlight. I'm told this is a JC vocal from several years ago, when the track was originally demoed. And I have to say that his voice doesn't sound any better on the album than right here. This is the JC of old and a burst of true the passion that the rest of the album could use more of. The track itself is a mid-tempo ballad with an earthy, retro vibe and a memorable chorus.
The performances by Chuck Wright, Lanny Cordola and Ken Mary should also be praised. The guys have all expanded their repertoires over the years and a higher standard of technical proficiency is evident here. In short their performances rock! But the songs in general just aren't as strong, nor as catchy as they could and should have been. The album takes a lot of listening to and does continue to get better as you get to know it, but it still doesn't come close the three classics before it. The flat performance from Christian and the fact that the whole sound and style is so far removed from what the band was much loved for means that the majority of fans are going to come away from this disappointed. It remains a musically interesting album, but really misses some bigger choruses and more memorable songs.
|
| Danny Danzi DanziLand | MTM Music 0681-94 |
|
|
Danny Danzi's back! But what took him so long? There is no simple answer to that question there were the record label problems, the constant band line-up changes and not to mention the recording, re-recording and the re-re-recording of the album's tracks. You see, Danny is a perfectionist and he just kept going until he was happy absolutely determined to keep working until his acclaimed debut Somewhere Lost In Time was topped. And without and shadow of a doubt, Danny has topped it and well and truly kicked its butt. DanziLand is better than the debut in every way as any important follow up should be. Better songs, much better production, a better performance and wow, take a look at the artwork! Danny plays his heart out here, with guitar riffs all over this album. Every possible space has been filled with more layers of guitar and some of the best soloing I have heard in a long time. Danny's talents as a guitarist must not be underrated. He really does give the big boys of shred a run for their money, but never at the expense of a good song melody. The production is also impressive. Produced by Danny with Wayne Davis, the album has been assembled perfectly, with a clear and even mix allowing all the layers to breathe. But by far the biggest improvement over the debut is Danny's vocal performance. He has really improved his range and the delivery of his voice and the songs benefit from that with more added layers of harmony vocals taking it really over the top. Both attributes add warmth and soul to the overall album. Track By Track: Such an album as this deserves a big build up and the intro Welcome does the job admirably. That leads straight into the fast tempo'd double kick-drum stomper DanziLand. This high octane hard rocker gets the album off to a flyer, but it's Eternity that really will turn heads. This Journey-esque melodic rocker has melodies and riff's going everywhere, a highly memorable and melodic chorus and some sweet harmony vocals throughout. Just A Matter Of Time is a 6 minute moody rocker, with a soft and subtle intro and verse, before a Van Hagar style chorus kicks in. The track also features lots of guitar fills and a killer solo. Let It Go appears to be the first ballad of the album and impresses with a heartfelt vocal before the full instrumentation kicks in, turning the song into a bit of an emotional mid-tempo melodic rocker. Only The Strong Will Survive should be familiar with most Danzi fans it has already been featured on samplers from his previous label Z Records and current label MTM. The song is a solid straight ahead rocker. Wild & Dangerous features a dose of cool acoustic guitar during the verse, but the chorus is all electric and rocks nicely. Classic hard rock for guitar fans. Time Passes By is the album's big power ballad, which in accordance with the rest of the album, also rocks! This is a nice sentimental track, with a great lead vocal and some more impressive guitar playing, albeit a little slower in tempo. Destiny is a more European style hard rocker with a dramatic almost symphonic feel. The track features some more flashy guitar playing and sees more great harmony vocals come chorus time. Fool is another solid, straight up hard rocker with a slight retro vibe to it. All Or Nothing is a track more dominated by keyboards and has a classic 80's feel to it. The uptempo melodic rocker has an easy going feel to it and features a feel good chorus. It's one of the album's coolest tracks. What About Us closes the European version of the album. This is a great tribute to the events of September 11 and is an acoustic driven rock track. It's another side of the Danzi sound and a very cool last track.
But an album of this quality will help his cause and should see his name a top of many Best Of 2004 lists. The style of the album is something there isn't a lot of right now, so I imagine this will be eaten up and truly appreciated by fans.
|
| Pink Cream 69 Thunderdome | SPV |
|
|
Fans of European melodic hard rock need look no further for a contender for album of 2004 than Pink Cream 69's newie Thunderdome. The guys know what works for them and what works for their fans and Thunderdome is simply a combination of those two things. This is loud, in your face and pumped up hard rock with attitude. This amazingly is their 9th studio release. Their previous best - in my humble opinion - was the brilliant Sonic Dynamite, with their last album endangered not quite topping its predecessor. But now the band has done just that and along with Sonic Dynamite, Thunderdome will rank as two of their best albums. It will be down to fan preferences as to what the majority think, but personally speaking I have found Thunderdome to be their most enjoyable album to listen to and review. Vocalist David Readman is in fine voice and as usual the production by bassist Dennis Ward is close to flawless. The guitar work from Alfred Koffler and Uwe Reitenauer is as powerful and hard hitting as ever and Ward along with drummer Kosta Zafiriou provide the foundation to the band's uncompromising and increasingly copied sound. Whether it's on the hard hitters like Thunderdome or the darker That Was Yesterday and Retro Lullaby, or the high octane rockers like Here I Am, the band deliver the goods. Changing the pace a little is That Was Yesterday - a great rock ballad in the best tradition of the band and features a great chorus hook and a strong lead vocal. Shelter is also a very commercial track that features a big hook and catchy singalong chorus. And for the record, I personally hate the song My Sherona and would be happy to never hear it ever again as long as I breathe. But the band has PC69'd it and true to form, it rocks hard and is a lot of fun. Still, I'll continue to skip over it each time!
|
|
Axel Rudi Pell Kings & Queens |
SPV |
|
|
Axel Rudi Pell doesn't vary the blueprint for his albums very much, but he does consistently record and release great albums, pleasing dedicated fans each time with more of his own brand of European hard rock. The band line-up for Kings & Queens is exactly as has been for the last couple of studio albums, which means Hardline vocalist Johnny Gioeli is back for his forth studio album. The formula for the last few albums has been an intro plus 9 tracks, including a couple of power rock ballads, a speed demon or two and a couple of extended epics with a few straight ahead hard rockers filling the gaps. Kings & Queens holds true to this formula, and again it provides a great listen and is highly enjoyable as always. Flyin΄ High really shreds for the opening track, with Cold Heaven, Strong As A Rock and Only The Strong Will Survive providing the straight ahead and uncompromising hard rock portion of the album, with plenty of great riffs and some power house vocals from Gioeli. Forever Angel is a great heartfelt power ballad as is the epic Sea Of Evil, which clocks in over 8 minutes. Legions Of Hell is the album's other epic, a great dark and moody rocker running nearly 9 minutes. What's most enjoyable about Kings & Queens is Axel's guitar sound. He's changed the tone just a little over the style of the last few albums - harder edged than ever, with an even more commercial hard rock style.
|
| Bowes & Morley Mo's Barbeque | Frontiers Records FRCD181 |
|
|
It's tantamount to the talent of singer Danny Bowes and writer/guitarist Luke Morley that the pair can be the driving force of hard rockers Thunder, yet work together in such a different atmosphere as Bowes & Morley. I must admit to preferring Thunder over the pair's blusier and R&B themed side project, but it still has definite charm. Their self titled album was somewhat of a disappointment to me, but continued to grow - even after the review was completed. After much thought, I concluded that it was a disappointment mainly because I craved a classic Thunder album so much. Thankfully, that was delivered in the form of the excellent Shooting At The Sun. With that desire fulfilled, I was more willing to accept a new Bowes & Morley album and have enjoyed it more then I did the debut. The guys have a fantastic relationship and play off each other effortlessly, which shows on this album. Nothing seems to have taken any effort and the whole album has a laid back, breezy soul/blues feel. Chris Childs (also from Thunder) appears on bass, Mario Goossens (Hooverphonic, The Others) on drums and Mark Taylor on keyboards/organ. The album is comprised of originals and a few covers including Stevie Wonder's Living For The City (a perfect version) and Ann Peebles' I Can't Stand The Rain a track I am not a fan of, even though this version is rather spirited! Add some jazzy piano passages (On A Day Like Today), some laid back acoustic tracks (Since I Left Her and the ballad Illogical) and the odd rocker (How Could You) and you get the picture of a very diverse album. For me, the guys don't sound any better than when they are really getting into the free flowing 70's blues on Waiting For The Sky To Fall.
Danny Bowes proves to be the master of all styles, and Luke Morley shows his talent runs deep. But fans of the harder edge of Thunder will certainly need to preview this before venturing any further.
|
| Shylock Welcome To Illusion | MTM Music 0681-91 |
|
|
MTM introduced a few new German acts to hard rock fans over the last year or so Shylock being just one of them. It's hard work to launch new acts, so it's pleasing to see a few of these guys with follow up albums due in 2004. This is when we get to see if the band has potential to go on with the job or fade as another forgettable face of hard rock. It's pleasing then to say that Shylock are the first to have a second album out and fall into the category of those most likely to rock on and continue to draw new fans. Their debut album despite featuring an awful CD cover showed great potential. Welcome To Illusion takes the band much further and elevates them to a must-watch band in the European hard rock scene. There remains an accent with the delivery of the lead vocal, but it's a class above the debut and still a very strong vocal. Fans of early Bonfire will know what I mean. Highlights on the album include the mid-tempo melodic rocker But I Like It, the album opening rock track Welcome To Illusion and the darker and heavier Revolution. The moody rock ballad Lose You, the interesting rocker Tomorrow and straight up hard rock of Guilty are also very enjoyable. The album is very well produced and sounds as good as others in the genre like Shakra and Bonfire. However, 15 tracks in this case is about 3 too many. The band have done it all by about track 8, so the second half sounds a little too familiar and the album would have benefited from being cut back by a few tracks.
|
|
Brides Of Destruction Here Come The Brides |
Sanctuary Records |
|
|
The debut Brides album will be released shortly with a blaze of publicity, but will that have any impact on the CD buying public outside of the individual guys fan bases? The band features bassist Nikki Sixx, guitarist Tracii Guns, drummer Scot Coogan and vocalist London LeGrand. London is the least known of the four his is a new comer to the LA hard rock scene after failing to break through in his native Georgia. The album has a feel of a number of contemporary and classic influences, with a little of the past from Sixx and Tracii Guns (Motley Crue and LA Guns), in a heavily updated contemporary delivery this record is as much alternative modern rock than it is classic hard rock. After many listens, I'm still not sure what to make of the whole affair. It rocks like crazy, as a monster attitude, yet I personally haven't warmed to it at all. Maybe it's the vocalist. As with several other examples in recent years, some classic hard rockers have chosen the path of a more modern rock/alternative vocalist. For the most part I don't like his tone or his delivery. Just not melodic enough for my tastes the style is far to harsh. Here Come the Brides was produced by Steve Bruno and mixed by Steve Thompson, an ever powerful duo that has worked with some of the biggest and the best. The quality of this album's production is therefore very good, but surprised me for it's rawness and overall simplicity. The band is clearly going for that 'live' in the studio feel. So it rocks, it's modern and it packs an in your face attitude. What about the songs? No problem with quality, although there may be a filler or two of the 9 tracks featured. The song style might not be for everyone though. You've got the punk influenced modern rocker Shut The Fuck Up to open the album does anyone really need a song with a title like this anymore? Following that, comes the frantic Guns N Roses styled rocker I Don't Care (a highlight), the heavy semi-industrial I Got A Gun, the LA Guns influenced alternative rocker 2 Times Dead and the modern rock/rap Natural Born Killers, which I quite dislike. The uptempo punkish Life is better it features a better vocal and an almost nu-breed style chorus. Revolution is also pretty cool, with another good Guns N Roses style hook, but a much rougher production quality. Only Get So Far closes out the album with the only slower track of the album a psychedelic styled rock ballad. It's ok, but the vocals don't sell the song. At 37 minutes in length and with most of the tracks already available in bootlegged demo form, there isn't enough on offer here.
Still, there is something about the album I don't warm to and I don't like vocals on several of the tracks. I don't have to like an album to see that it has definite appeal and will predict a few will wonder why I just don't like the album as much as I should. Personal tastes folks!
|
| Faithfull Light This City | Vinny Records VR-015 |
|
|
Melodic rockers Faithfull have been picking up a lot of attention and have been doing good business in Europe and Japan. For good reason too, as their debut album is quite impressive. The band is from Portugal and features vocalist Sergio Sabino, formerly of Evidence. There isn't anything here that will challenge the tried and true formula of commercial stadium rock of the 80s, but in this case, that's a good thing. With a singer that sounds alarmingly like Paul Laine, the band run through a collection of 12 high energy, old fashioned rock n roll songs a la Bon Jovi's Slippery When Wet or Danger Danger's Four The Hard Way. The production is also impressive. It could always have been more impactful and a little tighter, but on a limited budget, the guys have recorded and album that sounds every bit as good as many others out there and better than several more. What makes the album really work is the quality of the songs. Included are lots of hooks, catchy melodies and a few choice opportunities to raise your fists and singalong. Best investigate these guys and tracks like the opening rocker Light This City, the moodier follow up There's No Turning Back and the hands in the air feel good rocker All I Want, All I Need. The guys are also not afraid to tackle a ballad or two, but the main influence on Light This City is mid-to-uptempo melodic hard rock.
The album is very consistent, very enjoyable and very well written for fans of classic late 80's era melodic rock. A solid production and classy performance enhances the quality of this album, which rates as one of the better debut album's in sometime.
|
| Velvet Dreams Velvet Dreams | Vinny Records VR-012 |
|
|
Velvet Dreams is a band formed in 2001 by Italian singer Max Mucelli and half-Scottish guitarist Richardo Walls. The band features a classic hard rock sound, heavily influenced by their European location, but also featuring a touch of the old English AOR style. The music is well produced courtesy of Carlos Creater and in places features several layers of guitar riff's and solos and the added touch of acoustic guitars for extra texture. Unfortunately the good work that has been put into recording the album is largely undone by a horrible vocalist and some wonderfully dodgy lyrics. I never enjoy reporting such things, but the fact is that the vocals on Velvet Dreams are just not up to an acceptable standard. They are heavily accented and at times the lyrics are just shouted or spoken over the top of the music. Comparisons in the bio are made to Jorn Lande, which may be true as far as the tone and style, but these raspy vocals are more spoken than sung. He is not anywhere close to being in the same league as the great Mr. Lande. Then there is the lyrics ..do yourself a favor and skip Shouting, Standing In A Bar and Up Yours.
|
| Reckless Reckless | MTM Music |
|
|
Reckless was formed in 1993, forming out of the band Line Up with Patrick Axelsson as frontman and lead singer. Line Up released one album in Sweden and Reckless went on to record and release their only album in Japan in 1994. Now it gets a wider European release via MTM Classix. I'm afraid this is another album that just isn't in the league of being labeled classic. It's ok for what it is, but it isn't an all time hard rock classic by any stretch. Reckless' album is comprised of 13 straight-up, 80's style trans-Atlantic commercial hard rock songs, with plenty of guitar riffs flying about, interspersed with keyboard flurries and some raspy hard edged vocals. There's nothing wrong with the album at all. In fact, it's a powerful, well produced slice of melodic hard rock, featuring competent performances and a balanced, somewhat crunchy production. It's just that a 10 year old album isn't really as essential as the whole range of great new releases currently available. If there was a shortage of this stuff then it would certainly rate higher.
For those that already own the CD or have burnt copies of this rarity, three added bonus tracks are a good incentive for purchase. Overall, a solid, enjoyable album, but nothing quite essential.
|
| M3 Classic Snake Live Vol. 1 | Little House Music LH1002 |
|
|
Mickey Moody and Bernie Marsden seem to be going through an identity crisis. In their quest to be recognized as the real soul of classic era Whitesnake (which they are) the guys have, in recent years, been known as The Snakes, Company Of Snakes and now M3. The M3 line-up consists of Moody and Marsden, plus vocalist Tony Martin, bassist Neil Murray, drummer Jimmy Copley and keyboardist Mark Stanway. Despite introducing the new name and the classy new line-up, I am still not convinced of the need for this release. You see, of the 11 tracks there is not much that hasn't already been featured on the previous live releases from The Snakes and Company Of Snakes. In vocalist Tony Martin the guys have found a great guy and a seasoned performer. He does the material justice, but I can't help but wish Jorn Lande or Stefan Berggren was being featured instead. The performance is flawless, but the vibe feels a little flat. It's time the guys put more energy into creating new classics rather than dishing out the old via more live albums.
This is one for the die hard fans that must have everything, but I don't rate it essential to all Whitesnake or Moody/Marsden fans.
|
| Coastline Coastline | Vinny Records VR-014 |
|
|
Coastline are yet another melodic rock act out of Sweden, and another that feature a female lead vocalist. Their bio states influences from the likes of Darby Mills, Survivor and Tone Norum. That's a pretty fair call, but add in fellow Swede's Alyson Avenue and Broke N Blue also, not to mention Fiona at her pink and fluffiest. This is feel good, lightweight AOR with touches of Westcoast in places. The 80's pop/rock style and keyboard friendly strains of Coastline's music will be heaven for those that adore breezy mid-tempo numbers with sweet harmonies and tasteful guitar riffs. There is nothing here not to like especially with the quality of the song writing. The performances are also on song, with the mix favoring the lead vocals, keyboards and then guitars. The production isn't big budget, but is strong enough that it doesn't interfere with the enjoyment of the album.
If you enjoyed the Nexx album from last year and the others noted within the review, then Coastline is a worthy album to search out especially if female fronted AOR is your thing. The solid production is further enhanced by some catchy song writing and particularly enjoyable and pleasant lead vocals from Helena Rosendahl.
|
| Various Artists None Blacker - Tribute To Metallica | Perris Records PER01312 |
|
|
It's no secret that I am tired of tribute albums, so this new one from Perris Records didn't get me too excited. This tribute album says it features members of Every Mothers Nightmare, Lillian Axe, Near Life Experience and some other less heard of artists. EMN's Rick Ruhl is featured vocalist on Wherever I May Roam and Steve Blaze is vocalist on Master Of Puppets. In fact Steve Blaze is the only member from either Lillian Axe or NLE involved, so once he and Rick and Jeff from EMN are taken out of the equation, there are no other name players involved. The sound is average and the performances are about the same. I'm not sure who this will appeal to my guess is a few die hard fans of the artists involved, but there are all too few details about the album given. I wouldn't recommend this to Metallica fans, as these are straight up versions that you would better served by listening to the originals. The CD isn't long enough, with only 9 Metallica tracks included, the rest of the CD filled with song samples of the band's featured. It makes the CD more of an promotional advert than an official release.
|
| Tesla Into The Now | Sanctuary Records |
|
|
Tesla really had a job ahead of them to come back after so long apart. The band's problems were widely publicized, none more than Tommy Skeoch's drug addiction. Time has also moved on and 2004 sees a whole new playing field compared with the time when their last studio album was released some 10 years back. But the guys took the challenge of a return very seriously evident in the time it has taken the band to write, record and chose this selection of songs. I'm very pleased to say that I don't think the band could have done any better and have really made a great album for these times. It's more contemporary than I anticipated it would be, yet retains enough of the classic Tesla sound to please fans and perhaps prove to be a fresh force on commercial radio again. Tesla's band members all had their own solo things going, with Jeff Keith and Tommy Skeoch's Bar 7, Frank Hannon's Moon Dog Mane and Brian Wheat's Soulmotor both featuring more modern approaches than Tesla's classic hard rock sound. I see the songs of Into The Now garnering influences from both Bar 7, the super heavy Soulmotor and the band's own classic sound - molding those styles into something fresh and new. Into The Now is also heavier than anticipated and also uses more of the modern rock style tuned-down guitar riffs, but it's Jeff Keith's fabulous vocals and the band's rhythm section that remind us of what the band always sounded like. Track By Track: The band breaks into the album's heaviest and most modern track to open the album. Into The Now certainly let's listeners know where the band is at. The track features dark and heavy guitar riffs and a deeper than usual rasp from vocalist Jeff Keith. The chorus doesn't break the sonic attack at all. It's relatively short, but effective. There isn't any big guitar solos, but rather some production effects and vocal filters used mid-song. All very effective and cleverly done to prove Tesla can update and remain cool. Look @ Me kicks off and closes with the same snappy guitar/drum beat. The guitars aren't quite as tuned down as the title track, but remain heavy and pack a punch. The chorus remains short, but is more typical of what we expect from Tesla. What A Shame is even closer to the classic sound of the band's past. The chorus is stronger than either of the opening tracks and the song features that unmistakable electric/acoustic hybrid the band is famed for. A great song that has strong potential for rock radio. Heaven Nine Eleven changes the pace of the album nicely. This is a dark and groovy hard rocker with a strong hint of the classic Tesla sound, just heavier. Things are varied up a little by the use some vocal effects during the chorus and a perfect build in intensity to the heavy chorus break. This track is another great example of the band updating their sound and using cleaver production techniques to blend the old with the new. Words Can't Explain could be lifted from just about any of the band's past albums, given that's its acoustic driven with a riff-heavy chorus. The song builds and gets heavier as it goes and is really one for the old die-hards. Another potential hit song. It wasn't surprising to see Caught In A Dream used as the album's first single. It's easily the album's most commercial track and is a really enjoyable acoustic ballad with a big chorus hook. Miles Away is an interesting track. It clocks in over 6 minutes and is a lyrically touching track utilizing an acoustic verse, before launching into a heavy guitar riff bridge. Another musically intelligent and interesting track. Mighty Mouse is a straight ahead rocker with a modern twist. Not the best or my favourite track from the album. Got No Glory is one of the album's heaviest tracks. Featuring a killer guitar riff, the song isn't one of the more melodic, relying more on the impact of those guitar riffs. Come To Me is another acoustic driven, laid back number with a good chorus hook. While it is acoustic driven, it's another track that sounds new and features a great lead vocal. Recognize is another darker and heavier track, even if the tempo is pretty slow. The song has a bridge-chorus set up, where the tempo picks up, with an aggressive guitar riff. Only You closes the album with another new twist. This is an all acoustic track with strings and a truly haunting feel.
Into The Now really is a great example of a classic band moving into the present, but without abandoning what is expected of them their classic sound.
|
| Jaded Heart Trust | Ulftone Music UTCD082 |
|
|
It is widely regarded that IV was Jaded Heart's best record. No surprise then that the band has chosen to return to the more hard hitting approach of that album. The last opus The Journey Will Never End was still very classy and largely enjoyable and I rated it highly. But it was a little more diverse and somewhat softer than the band's previous efforts. I don't believe there was any undue pressure on the band to deliver, but for whatever reason, they have really nailed it with Trust. The band has really put in a superb effort. Everyone is on song. Popular vocalist Michael Bormann sounds better than ever, really launching himself into the vocals. Guitarist Barish Kepic serves up some of the band's toughest riffs and best solos and the rhythm section is as tight and as powerful as they have ever been. Then there's the harmony vocals - easily the most satisfying in the band's career. From 13 tracks, there really isn't any song that lets the listener down. There isn't any let-up in intensity, with the opening rock anthem Anymore and the more urgent Feels Like Home really kicking things into high gear from the word go. There are some lighter moments to vary the pace, but those tracks, like Burning Heart, still have massive intensity. Throw in a couple of big Def Leppard style anthem ballads in the form of Love Is Magic and If I Lose, add a couple of slower, moody rockers like Masquerade, Trust and Let It Rain and you have a perfect balance to the uptempo hard rockers like Hating You and Jaded. I can't compliment the band enough on their selection of songs and the power of the delivery on Trust. These are quite simply, the best songs the band has recorded. My only small compliant is the record at times sounds too loud. Maybe it was the mastering, but at times it sounds a little distorted and just too loud. Rightly so that this record should be played and appreciated at high volumes, but let the listener control that.
It's probably nothing you haven't heard before, but seldom is it done so consistently well. Jaded Heart fans are going to eat this up and new fans won't be far behind.
|
|
Final Frontier Second Wave |
Avalon Japan / Z Records UK MICP-10392 |
|
|
Final Frontier are back for their second attack, with scant regard for the fact that it's 2004. The Second Wave is aptly titled, as listening to the album is like the 1980's all over again. Vocalist Rob Moratti and guitarist Mladen Haze (Von Groove) provide the backbone of the album both providing the music and writing all the songs together. The band's debut was an enjoyable keyboard filled jog through the early 80's AOR sound that made Foreigner and Journey stars. On The Second Wave, it's more of the same, with tracks on offer sounding like they could have been lifted from any 80's release from Styx or the previously mentioned Journey and Foreigner. What's even better about the new album is the songwriting. While there has been no attempt to veer from the style of the keyboard friendly early 80's, the songs themselves contain better hooks and even more memorable choruses. There are plenty of moments to catch the listener's attention and reel them in. The beauty of each track is instantly recognizable thanks to well placed melodies and vocal hooks. The album's direction is evident from track 1, but get into it a little and uncover the singalong gems like Somebody's Gotta Pay The Price, Lydia and the utterly essential Lost Inside A Dream. After The Fall is the band's big radio ballad and would have been guaranteed a spot in heavy rotation if it was 1985! My main criticism of the debut was the thin production, which remains an issue with this release. But I'm sure that fans of early 80's AOR will be happy to overlook that factor in favor of some infectious singalong rock n roll. And thank God the artwork is better!
|
| Street Talk Destination | MTM Music 0681 - 88 |
|
|
Over the course of three studio albums, Sweden's Street Talk compiled a strong catalogue of music. The band has also gathered momentum with each release, peaking with their last studio album Restoration, which also featured Hugo alongside Goran Edman as a vocalist. Destination is a fitting title for this Best Of compilation. Has the band reached their final destination, or is this just a stop on their way to world domination? Sadly the world is likely to remain dominated by the likes of Britny Spears, but those with good taste will still hold Street Talk dear to their hearts. All three of the band's albums have featured Goran Edman on vocals - the centerpiece of this set of songs. Also featured are the two Hugo tracks from Restoration and two tracks from Kristian Andren - those lifted from the debut. Rounding out the compilation are two instrumental tracks not previously available in Europe and the added incentive of two brand new tracks. The first new track on offer is the mid-tempo, guitar fuelled AOR anthem Astray. Goran Edman's vocals have seldom sounded better, or smoother. The track is layered with sweet harmonies and hooks and is among the finest the band have recorded. Fitting then, that this song makes its debut on a Best Of compilation. Made For Paradise continues the uptempo and more guitar driven feel of the new tracks on offer. This is another feel-good pop rocker with a memorable chorus and is another example of perfect European AOR.
|
| Shadowman Land Of The Living | Escape Music ESM - 098 |
|
|
FM vocalist Steve Overland has never been far from the news, keeping busy with a range of guest appearances and lead vocal spots on a whole host of tribute records and other projects. But he hasn't, until now, fronted an all new studio album for some time. This collaboration with Heartland writer/guitarist Steve Morris is therefore very welcomed. Shadowman features the talents of Overland and Morris with Chris Childs (Thunder) Bass; Harry James (Thunder) Drums. Departure's Mike Walsh also guests. There probably won't be a finer example of moody atmospheric AOR this year, with each track featuring a strong chorus and the performances of all involved particularly good. It's normal to put one of the best tracks up front, but in the case of Shadowman, the very best track of the album kicks things off. However, there isn't anything that quite matches the excellence of the uptempo AOR anthem Those Days Are Gone. It really is a first rate AOR track with lots to like and an expected strong lead vocal and some great soloing from Morris on guitar. There are still plenty of tracks to enjoy on Shadowman and lots to like from the performance of Overland. For example, the guitar driven mood rocker Medicine To Me is a highlight, as is the ultra smooth ballad Touched By An Angel, which features another great lead vocal performance. Gypsy Heart and Land Of The Living both feature memorable choruses and some of the smoothest melodies this side of an Asia album. But it's not until track 9 that another truly uptempo number comes along. The album overall is a little too laid back and in need of a couple of tempo changes to break the continues mid-tempo flow.
|
| Blind Alley Infinity Ends | AOR Heaven 00006 |
|
|
Blind Alley is a Swedish 3-piece that features all members performing lead and backing vocals. The band comes out of the ashes of the popular band Fortune and Shadow Play. What the band offer over their 13 track album is a selection of 80's inspired, traditional Scandinavian AOR. The material is very light and fluffy and places - typical of the keyboard friendly 80's and a little moodier and guitar driven in other areas. The band sail through a range of poppy uptempo numbers and moodier mid-tempo tracks, with keyboard and guitar parts getting equal billing. My best description is to that of Fortune and other Scandinavian pop/rock outfits like Sahara and T'Bell (also AOR Heaven releases) and Rainmaker. There is a certain Westcoast pop element to some tracks that will compare to the smooth side of Toto and projects led by Tommy Denander. The vocalist is very pleasant and is easy to listen to, as are the songs featured here. The album however does feature a lot of programming - so if that is an issue for you, take a listen to the soundbytes first.
|
| Shiva Desert Dreams | MTM Music 0681-89 |
|
|
Shiva have doen what all good bands should do deliver an album that builds on their debut, while moving forward a little. But some might find the band have moved too far forward, with a far heavier and more contemporary sound employed on several tracks. Their first album was a great example of Swedish melodic hard rock, with lead vocalist Anette Johansson one of the finds of the year. I described the album as a heavier and Scandinavian version of Robin Beck. On the band's follow-up, Desert Dreams, things are a little different. The sound has been modernized slightly and the guitar attack has been beefed up considerably. It takes more than a couple of listens to get your head around the new sound, but it does become more familiar each listen and you do come to a point where this and the debut don't sound too far apart. The opening three tracks are actually the most modern and the most aggressive, before the remaining songs revert to a more melodic rock friendly style. That said, there are some good hooks within the heavier tracks, but they are wrapped in a modern feel some may not be so willing to adapt to. Once you arrive at Complete Strangers and the haunting rock ballad Losing My Child, the Shiva that impressed on their debut is clearly evident. Passenger Of Life continues the powerful and passionate melodic rock, while Crucified provides a hard rocking burst. The album closes with another modern tinged aggressive rocker, but the guys don't forget to include a chorus hook and a memorable guitar riff.
The guys are trying to move forward in a scene that doesn't always appreciate such ambition. But the bottom line is that the band have recorded another strong set of songs that sounds fresh and inviting for the year 2004. It may not quite have the strength of the debut, nor the same melodic rock base, but it certainly rocks.
|
| Erika Cold Winter Night | MTM Music 0681-87 |
|
|
Erika's Cold Winter Night was originally released in 1990 albeit to a limited release in her native Sweden. There were four more albums after that before she retired from the business for a while. This debut has been remastered and re-issued by MTM Classix. As expected of any album in 1990, this features a heavy dose of keyboards and light and fluffy melodic rock, all delivered in traditional by the numbers Scandinavian style. The album will appeal to fans of female fronted rock albums and is filled with breezy feel good numbers, but nothing that would have me rate it against many of the better known albums of the same era. First husband Yngwie Malmsteen makes an appearance on guitars, which will be of interest to fans of his but don't expect a shred-fest. Much of the album has a programmed feel to it, which hasn't helped the aging process. This does now sound a little dated and will appeal to those that felt something for the album at the time.
|
| Seventh Key The Raging Fire | Frontiers Records FRCD 176 |
|
|
Seventh Key is Kansas bassist Billy Greer and Streets/Steelhouse Lane founder/producer/guitarist Mike Slamer. This is their second album and to get right to the point, is better than the debut in every way. This sensational slice of pure melodic hard rock features better songs, better production, better arrangement and best of all, one hell of a vocal performance from Billy Greer. The debut album was fabulous in its own right, but like all follow-ups, an artist must strive to improve and that has indeed been done. Any fan of the debut is going to be well impressed with this release. The one detail on the debut that I didn't warm to as much was Billy's vocals. It might have been the fact that the album was the next from Slamer to follow the utterly essential Steelhouse Lane Slaves Of The New World album, which featured awesome vocalist Keith Slack. On The Raging Fire, Billy's performance comes close to that of Slack's. There is increased warmth in his voice, increased strength and a real conviction it the delivery. There are some spine tingling moments on this album, which shows the partnership between Greer and Slamer really maturing. Mike Slamer's guitar style and production sound has always been detectable, but over the course of the two Steelhouse Lane albums and now two Seventh Key albums it has become legendary. The Raging Fire contains all the tricks expected a deep, full sound - worthy of any major label release - coupled with layers of harmonies and bombastic time changes, bridges and the all important over the top choruses. And don't for get guitar solos there are some awe inspiring solos throughout the record another testament to Slamer's ability. Track By Track: What better way to open any album than a guitar fuelled uptempo rocker? The Sun Will Rise is exactly that a perfect pump your fist in the air, harmony filled, feel good rocker. Nice also to hear a big guitar solo right in the middle, before the song wastes no more time in getting back to the chorus. Always From The Heart starts slow, with Billy's vocals floating over a soft acoustic intro. The song builds in mood and tempo and bursts into a huge high-tech fill which leads into another memorable hands-in-the-air chorus. It's one of the album's most commercial tracks and very reminiscent of the debut. You Cross The Line is an interesting track. This is one of those great Slamer production moments when the melodic rock envelope is pushed a little harder than usual. This is a dark and moody track which starts softly, but explodes into a fired-up rocker with another bridge-to-chorus hook combo which delivers the knockout punch. An Ocean Away is a simpler uptempo rocker with a cool lead guitar riff and a strong vocal. The chorus flows easily and is slightly more melodic than the tone of the overall track. Another highly memorable and enjoyable track. The Raging Fire is another less than straight ahead track clocking in at 6 minutes and featuring a dark moody vibe to it also. The verse is rather haunting, with an eerie piano "riff" adding to the feel. The relatively short chorus features some tough guitar riffs. Sin City returns to the straight ahead feel of the opening track and An Ocean Away. A simple, guitar driven rocker which balances the quirky tracks perfectly. It Should Have Been You is the album's only real ballad proper. The track has the vibe of a classic Foreigner ballad, with a moody verse, layers of keyboards and harmony vocals and a heartfelt anthem chorus which would sound at home on any good rock radio station. Run is a classic style hard rocker with Def Leppard-ish production and Eddie Van Halen lead guitar sound. Mix that with a little Steelhouse Lane and you get the picture. However, it's not the album's best chorus. Pyramid Princess is an epic styled hard rocker, also with a dark edge, but a huge production job that includes some bombastic drum passages and a high-impact chorus. One of the more dramatic songs of the album. Winds of War is another slow to start track. I really like the way these guys build the songs and this is no different. It starts slow, but through the 6 minutes plus, builds to quite a tasty rocker.
However, every note on this album was written and recorded to please the fans and I believe they have done that with some outstanding songs and inspired performances. Terry Brock adds backing vocals, which give the harmonies even more depth. A brilliant album that will please just about everybody.
|
| Jack Blades Jack Blades | Frontiers Records FRCD177 |
|
|
Jack Blades is one of my all time favourite artists and even more importantly, is regarded one of the best songwriters in the game. Night Ranger's albums are all regarded as personal favourites, as is the debut Damn Yankees album.
Then there's the also impressive Shaw/Blades album, the second Damn Yankees and Jack's work with other artists including Alice Cooper, Journey, Aerosmith and Great White. Quite a resume already, but not content with that, Jack thought a solo album was well overdue and this is the result. Joining Jack on the album is fellow Night Ranger buddies Kelly Keagy, Brad Gillis and Jeff Watson, along with Tommy Shaw, Neal Schon, Damon Johnson, Michael Lardie, Warren De Martini and of course, son Colin Blades. Guitarist Sam Eigen is however the backbone of the album. With Sam on guitars and Kelly Keagy on drums throughout most of the album, the remaining players all fill guest roles. Neal Schon plays lead guitar on Sea Of Emotions and To Tough The Sky. Jack's album is a highly anticipated release for the melodic music community. In recent years, Jack has varied his style of writing to cover not only classic hard rock and AOR, but also modern and acoustic pop. So it was with some interest that we all waited on news of what direction this solo album would take. The answer is the songs on Jack Blades are not restricted to any one style. Over the course of the 11 tracks, Jack touches on all past styles covered and even adds a couple of new flavors. This makes for a varied and interesting listen and I think the album is compiled quite well it does have a natural flow. But that doesn't mean fans are going to like each and every track which for me was the main disappointment of the album. I was anticipating every track being another JB classic and that just isn't the case. I must say that I have had to work really hard on getting to like this album, which in itself was a surprise. This album is a grower and really does require a lot of listening. It's more laid back than I anticipated, with several tracks along the Shaw/Blades style. But then it's also heavier than anticipated in other areas, with 4 tracks leaning towards a modern rock vibe. The production is sound, but it's not as high-tech as previous releases such as Night Ranger and Damn Yankees. But then again, this album isn't recorded with the budget those major label releases were recorded with. Track By Track: Opening the album in the best possible way is the pure melodic rock anthem Sea of Emotions. The track was written by Blades with Neal Schon. The track was originally planned for inclusion on Journey's Arrival album, but is thankfully aired here. The style is such you can easily imagine Steve Augeri signing it. The track is an up-tempo feel good melodic rocker that also features a lead vocal by Kelly Keagy during one bridge. Shine On and We Are The Ones are the two tracks included on the album that were originally recorded for the ditched third Damn Yankees album. Shine On features a dual lead vocal between Jack and Tommy Shaw. The song itself is an uptempo modern rocker, with a dark and heavy tone. The track doesn't really match anything Damn Yankees have recorded before, nor Jack for that matter. The verse is something different - a spoken rap of sorts, with a sparse arrangement which leads into a heavy and bombastic chorus filled with tuned down guitars. The chorus hook is relatively short and takes some time to grow on you, but surely does. We Are The Ones is also moody and heavy and features the same dark guitar tones. The verse has an aggressive edge and is again influenced by modern trends. The song builds to the chorus, which unfortunately is not a highlight of the Blades repertoire. Many Blades fans might find this track too modern for their tastes and indicates why the third Damn Yankees album would have been so different from the first two. Don't Want To Be Alone Tonight is a much more melodic friendly track and one that will be a crowd pleaser. The Schon/Blades composition is a direct about face from the tracks before it. This is a stripped back acoustic driven ballad with a memorable chorus and an updated feel to it, but one that suits the vibe of the song. Sometimes You Gotta Have Faith is another acoustic driven track - this one more in a breezy pop vein than the ballad before it. This is another track with a modern Beatlesque vibe, but remains in touch with the style that was the Shaw/Blades album. Add a catchy chorus and the song becomes an album highlight. To Touch The Sky is another Schon/Blades composition and another track that was earmarked for the Arrival album. And just as with the opening track, this has Journey stamped all over it. The melodic rocker features several layers of vocals and hooks not to mention an extended bridge and chorus arrangement. It takes a few listens to get to hear everything that is going on, but is a gem of a track. More tracks like this might have been cool. Who You Want To Be sees the album head back into modern rock territory. Starting out as an acoustic Night Ranger style pop song, the chorus bursts through with that tuned down guitar sound again and a Sunshine Of Your Love style retro vibe. Not a band track, but lacking that hit factor so many of Jack's songs have. Someday has that Shaw/Blades vibe. It features a strong acoustic sound and layered harmony vocals in the style of that album. Basically it's an enjoyable, breezy pop rocker. The laid back acoustic driven ballad Breaking It Down has a definite Beatles retro pop vibe and sounds as if it could have been lifted from son Colin's debut album. Funnily enough, the song was a result of the pair writing together. Time for another complete turn around in style. On Top of The World is a heavy, slow moving modern rocker that features a chorus that sadly isn't very catchy. If anything, you will dig the vibe of the song as a whole, but for me, this is not a track I warmed to. The most interesting aspect of the track is that the line up also features Kelly Keagy, Brad Gillis and Jeff Watson, but sounds nothing like Night Ranger! Nature's Way is an acoustic cover of the tune by 70's prog-rock act Spirit, from their 1970 album Twelve Dreams of Dr. Sardonicus. It's another laid back Shaw/Blades style track that some fans will love and others won't. I think its ok, but not an album highlight and a rather soft way to close the album.
The album is solid without doubt, but isn't the anthem packed classic it could have been. On a positive note, the album contains a few real gems that all JB fans will enjoy. The styles are so varied, on occasions it's obvious the album is taken from different sessions. But those that appreciate a little variety in their music and prefer something that isn't as predictable, nor safe, will find a lot to like within this set of songs.
|
|
Dream Theater Train Of Thought |
Elektra |
|
|
Review by Phil Ashcroft: Love them or hate them, Dream Theater are a band who make music for themselves. If the fans want to come along for the ride then that's fine, but with the exception of parts of Falling Into Infinity, it's music made without concession or compromise. That statement probably isn't entirely true and integrity doesn't always go hand in hand with being on a major label, but even though I've no idea how they've managed to stay true to themselves AND appease the label, I'm certainly glad that they have. After the rather eclectic collection of songs that was Six Degrees, the band have this time opted for less variety and more cohesion, a unified sound that's both incredibly direct and hard hitting, but no less technically demanding for both the listener and the band. To compare it to past albums it's part Scenes From A Memory, and part Awake...the heaviest parts! Containing 7 songs, 5 of them well over 10 minutes long, Train Of Thought could have been too much for even the most hardened prog-metal head to cope with, but what DT have done is basically leave the over-the-top instrumental bits in, but simplify the songs around them. By songs I mean the bits where James LaBrie is actually involved, and despite the length of the tracks it's heartening to note that there are an awful lot of lyrics in the booklet. Kicking off with a Black Sabbath riff (or the riff to Black Sabbath to be precise), the relatively short As I Am soon turns into a Metallica-like affair. With a great chorus, both musically and lyrically, and with Jordan Rudess taking a back-seat, John Petrucci's playing is very direct and it's the closest thing they've done for a while to a straight rock song. It's also immediately apparent that LaBrie is in excellent voice, probably his best since Images & Words, and that Mike Portnoy is definitely not underplaying this time around. On to the longer tracks, This Dying Soul returns to the punchy riffs and multiple time changes of old, while the vocals are aggressive and the insistent hooks of the song even include a processed rap vocal that actually works. Rudess scores his first points with a couple of manic solos and some tasteful piano, while Petrucci complements him with some pacy riffs and shredding solos. The pace is brought down a little for the outstanding Endless Sacrifice, which has a gentle verse and crunching, almost Nu-Metal, chorus. LaBrie is outstanding again and the instrumental interplay is a throwback to Metropolis. Honor Thy Father, on the other hand, has all manner of weird and wonderful things going on, crystalline metal riffs, off-the-wall vocal lines circa Rage For Order, odd rhythms, spoken dialogue, soaring vocal melodies, and even a keyboard solo that's a dead-ringer for Rick Wakeman. Intense is not the word. Things are broken up nicely by the short gentle ballad Vacant, on which LaBrie's voice has a haunting, breathy quality. It's a simple theme built around bass, piano and cello, and leads nicely into the album's instrumental, Stream Of Consciousness. Dynamic and moody, and in the great tradition of Erotomania and Hell's Kitchen, the instrumentation is razor sharp and the many tempo changes don't change the fact that it's a superb succession of memorable tunes. Saving the longest for last, In The Name Of God is heavy and atmospheric, but also relatively simple. It's a typical closing epic with tons of melody, some serious shredding in the mid-section, and builds up to a stirring climax in a similar way to Finally Free, right down to Rudess' simple piano. LaBrie pulls off a stunning vocal yet again and the song benefits from the simplicity of the arrangement, and the sharpness of the production.
|
| Neal Morse Testimony | Inside Out |
|
|
Review by Phil Ashcroft: After Neal's shock departure from Spock's Beard (for reasons which will become apparent), it's perhaps surprising that he's managed to get an album out so soon, let alone a 2 hour plus concept album of sorts. The man himself admitted to being tired and drained after the amount of work he put into the Beard's last opus, Snow, but nevertheless has wasted no time assembling something that's even bigger and more overblown again. Testimony is the story of Neal's adult life, and the slow realisation that despite living his dream of being a professional musician, there was something missing that was making him unhappy. That something was God. This resulting album is not an easy listen, especially lyrically, but there is enough of Neal's whimsical songwriting in evidence to appeal to even the most hardened agnostic. Thankfully Neal has chosen to stay away from both the 'hard-to-get-hold-of' Christian record labels, and the simple pop of his solo albums, and stick to the sprawling progressive epics he made his name with, and the excellent Inside Out label. In true prog-rock style he's divided the 29 tracks (or 31 on the limited edition) into five lengthy sections, each one depicting a different period of his life and his state of mind during that time. A track by track rundown would be rather pointless, especially as some melodies are repeated in different songs, but the mix includes short and long instrumentals, orchestral pieces, upbeat rockers, ballads, and technical instrumental workouts, sometimes all in the same song. A lot of it is straight from the Spock's Beard songbook, including some stirring keyboard-led anthems like Wasted Life and Oh, To Feel Him. Neal also knows how to rock-out a little, which considering the drums on the whole album are by Mike Portnoy, it would be foolish not to. Colder In The Sun for instance has the trademark Spock's Beard synth sound and intricate vocal harmonies, while the majestic Prince Of The Power Of The Air fairly gallops along like his former band at their rockiest. There's a guest guitar solo by ex-Kansas guitarist Kerry Livgren, obviously a big influence on Morse not only musically but also spiritually, and who also left his band after having trouble balancing his love of God with being in a rock band. Livgren makes his presence felt on other tunes that he doesn't even play on, particularly the instrumentals Overture No2 and Interlude, not to mention the blatant Kansas rip-off piano on In The Middle and the violin solo at the end of the catchy Break Of Day. Musical departures include a New Orleans jazz section in The Storm Before The Calm, and the gospel bluegrass of Take It High, but elsewhere it's the simple balladry of I Am Willing, The Land Of Beginning Again and Somber Days that appeal the most. A special mention also for the epic pairing of Long Story and It's All I Can Do which score highly in a Trick Of The Tail-era Genesis kind of way.
|
| Rush Rush In Rio | Atlantic/Anthem |
|
|
Review by Phil Ashcroft: I'll spare you the history lesson as Rush is a subject that I could rant on about ad infinitum, and usually do. Rush, you see, are my favourite band, and have been since 1977 when I caught the first 3 of my 28 Rush shows, not bad for someone from an island where they hardly ever go. Suffice to say that this is the triple CD of the DVD of the comeback tour in support of the comeback album, Vapor Trails, and also Rush's first ever mini-tour of Brazil. Despite the problems they encountered, as detailed in Neil Peart's excellent sleeve notes (equipment arrived late, band didn't soundcheck, cameras and recording equipment weren't tested etc.), the band practise what they preach by showing grace under pressure. However, Geddy, Alex and Neil aren't the only stars of this extravaganza. Take a bow the 44,000 strong Maracana Stadium choir who provide the loudest singalong since AC/DC's If You Want Blood, even during the instrumentals. As with the Test For Echo tour the show is divided into two sets, the first set (disc 1) being just over 70 minutes of mostly shorter songs, and the second (discs 2 & 3) lasts almost an hour and three-quarters including many revisited epics. Great care has been taken to represent as many Rush studio albums as possible, only Caress Of Steel and Hold Your Fire have nothing included, but the tracks played are a great cross-section of their celebrated career. Taking disc 1 first. It's great to see them kicking off with Tom Sawyer, although the sound at the beginning isn't really powerful enough for the song's dynamic chord changes, and also neat that after so many live albums there are still quite a few songs appearing on a live disc for the 1st time. The version of Natural Science that ends the disc is awesome, as are criminally under-rated tracks like The Pass and Bravado. Hell, even New World Man comes across really well, and the crowd singing along to YYZ is superb. Old favourites like The Trees, Freewill, and the last-minute addition of Closer To The Heart are played faithfully, but even on these the crowd reaction differentiates them from earlier versions. Disc 2 is mostly newer material with the Vapor Trails trio of One Little Victory, Ghost Rider, and Secret Touch, all sounding better in the live environment, accompanied by 90's tunes like Driven, Dreamline, and the instrumental Leave That Thing Alone. The highlights on this disc include Neil's drum solo (how many drummers can you say that about?), an excellent acoustic reworking of Resist, and a particularly spirited 2112. With the new stuff out of the way, disc 3 is almost totally retro. From the sublime Limelight, through Alex's mad rant during La Villa Strangiato and the obligatory The Spirit Of Radio, to the bizarre mixing of By-Tor And The Snow Dog and Cygnus X-1, everything is delivered faultlessly. As the set ends back where it all started with Working Man you can almost feel the band winding down while simultaneously rocking it up. All in all a superb set that's familiar enough to please casual fans, but at the same time sufficiently different from what's gone before to appease the aficionados. The musicianship is, as usual, top-notch with Alex Lifeson in particular playing better than ever, and considering Neil Peart didn't play the drums for two years before this album and tour, he's lost nothing. Criticisms? Well yes there are some. While personally I think the boisterous crowd adds bags of atmosphere to the proceedings, I can understand why some are complaining about them drowning out the music at times. Also, there's absolutely no doubt that Geddy Lee's vocals are far too low in the mix, and with Lee and Peart being only too happy to walk away and leave Alex Lifeson and James (Jimbo) Barton in charge of the audio, I'd be interested to know if Geddy's entirely happy with it. The DVD doesn't seem quite as unbalanced, but I'm not sure if that's just because it works better in 5.1 or because I'm just overlooking it because of the superb visuals. On the other hand, maybe it was the recording conditions because the 'bootleg' versions of Between Sun And Moon, and Vital Signs from the US dates, sound so much better.
|
|
Orphan Lonely At Night / Salute |
Escape Music ESM097 |
|
|
Escape Music have worked hard at getting the two albums released by Orphan and have put them together in another of the labels neat digi-pack releases. A nice little package for fans and a welcomed step into the past for fans of early 80's AOR. Orphan at times remind me of pop/rock/AOR outfit Taxxi who at the time were also making waves in the USA. The similarities hold true with the style and delivery of the keyboard drenched early 80's rock, and the dark and moody tone of the songs and in particular, the vocals. Some comparisons can also be made to former Rainbow keyboardist and singer/songwriter Tony Carey, who was another fine portrayer of the moody keyboard driven melodic rock style. The re-mastering undergone here has resulted in a nice clear sound that has helped breathe new life into the material, some 20 years old. There are no bonus tracks on offer, which leads me to believe their probably wasn't any, as in the past, everything possible has been included on these re-issues. Both albums feature some catchy AOR numbers, with the first album dominated by keyboards and the second a little harder edged.
An easy way to puck up two old gems in one place and at a very reasonable price.
|
| Statetrooper Statetrooper | Escape Music ESM095 |
|
|
Escape Music is at it again with another good re-issue from the lost-on-LP vaults. This time it's Statetrooper, a band fronted by Gary Barden and formed in the mid-80's. The album was released in 1987 as a vehicle for Gary after his departure from MSG. Sessions for the album had started some two years earlier with a slightly different line-up. Sadly this album was the band's only release, with Gary retiring from the music scene (at the time) after its release. The music is prime mid-80's UK hard rock, with a mix of guitars and keyboards surrounding Barden's powerful vocals. Guitarist Jeff Summers knows a good riff and offers plenty over the course of the original 9 tracks. Only 7 studio tracks were recorded with 2 live tracks rounding out the original 9 track LP release. The style is now a little dated, with this album not aging as well as some others. But this will sound as fresh as the day it was released to fans of the original album. I have to mention that the sound quality isn't as crisp or clear as previous Escape re-issues. One can only imagine that the masters were not in great quality. The live tracks are the worst offenders, but will still hold strong appeal to fans of the band. The packaging is however, up to the label's excellent standards and is fully restored.
Good news is that the band continues to work on a new studio album for late 2004.
|
| Transatlantic Live In Europe | Inside Out Music |
|
|
Review by Phil Ashcroft: When Neal Morse left Spock's Beard just over 12 months ago it was thought that it would be the end of the band. As it turned out, the remaining members decided to continue without him. However, while that band already had another keyboard player and another lead singer, Neal's other outfit, Transatlantic, didn't, meaning the end of the band, for the foreseeable future at least. In it's short life Transatlantic released two studio albums, the first (SMPTe) promoted by a small US tour which was recorded and released as Live In America, while the second studio album (Bridge Across Forever) brought about a European tour in 2001, hence this CD and DVD. Recorded in Tilburg in Holland, the show ran for over two and a half hours even though only six tracks were played. If you're not familiar with the band that may sound excruciatingly boring, but each of the pieces, 4 of which clock in at the half-hour mark, has many different parts that are like individual short songs pieced together. In Transatlantic, the four participants, Mike Portnoy (Dream Theater), Roine Stolt (The Flower Kings), Pete Trewavas (Marillion), and the aforementioned Mr. Morse, abandoned the forward-thinking music of their respective groups in favour of a 70's progressive vibe taken from a mixture of their influences. The most obvious inspirations for this project are early Genesis, Gentle Giant, and Pink Floyd, with a definite Beatles vibe in some of the vocal melodies, although each of the guys own bands get a look-in too. Performance-wise you'd struggle to find a quartet as talented as this, although they're actually a quintet as they're joined by Pain Of Salvation's Daniel Gildenlow on additional guitar, keyboards, and vocals. Considering the short rehearsal time for this tour their tightness is impressive, particularly the four (or five) part vocal harmonies that run through Bridge Across Forever's lengthy bookend tracks, Duel With The Devil and Stranger In Your Soul. Morse, Stolt and Gildenlow are obviously familiar with the lead vocal role, but Portnoy sounds reasonably good too, and Trawavas ....er ....adds another voice. The music twists and turns, sometimes joyous, sometimes melancholy, and sometimes even at the point of being aggressive, but even though it's a joint effort, Morse's and Stolt's contributions are pretty obvious. The ballad We All Need Some Light (Morse) is well played and easily the shortest song on offer, while My New World (Stolt) would sound the same if done by The Flower Kings. The Beatles influenced Suite Charlotte Pike is doubled in length by the inclusion of some relatively obscure cover versions in the middle, while the whole thing comes to a triumphant close with the epic All Of The Above, possibly their best song with more infectious musical bits than you can shake a stick at. The musicianship of Morse, Portnoy, and the surprising Trawavas, is superb, and even Stolt, who I'm not really a huge fan of, plays some great guitar, and it's obvious that the band had some sort of chemistry going on that comes through in the music. The DVD footage is very clear with some interesting camera angles, including one behind Portnoy's bass pedal for all you drum anoraks, but the music is so technical in parts that most of the shots are of the guys in deep concentration with little band interaction or any movement at all. The lighting is competent and the sound mix is superb, although as I said Portnoy's voice is very good indeed, suspiciously so. Unless you're very into the music you'd get very little out of the concert, but for what it is it's very good indeed. The 2nd DVD has some interesting stuff, not least of which is their performance of Floyd's Shine On You Crazy Diamond from the NAMM show, but the most interesting thing is the documentary. There are interviews with each member at various points of the tour, rehearsal clips, and several bits of tomfoolery, like the Red Bull chant before going onstage. There's footage of Morse leading them through the Beatles songbook on the tour bus, and an awesome clip of him doing the title track of Bridge Across Forever at the soundcheck. It was also mindblowing to hear that they wished they'd routed the tour backwards, as the superb show I saw at London's Astoria was the most under-rehearsed and shambolic set they'd played on the whole tour, despite having the biggest and most appreciative audience.
|
|
Last Autumn's Dream Last Autumn's Dream |
Frontiers Records FRCD 173 |
|
|
Last Autumn's Dream is the interesting combination of Swedish AOR singer Mikael Erlandsson with former Fair Warning guitarist Andy Malecek. Providing the backbone of the band and this album is the popular session trio of Ian Haughland, Mic Micaeli and John Levin all of Europe fame. It was the idea of Erlandsson's Japanese label that he record a harder rock album and Frontiers Records have smartly picked this up for Europe. LAD is an overall solid album even better being that it's a debut. It's nice to see Malecek back in business after his other Fair Warning buddies surfaced in Dreamtide. Erlandsson is a classy singer who is capable of adapting to different situations. His earlier work was pure Westcoast/AOR, while earlier this year he delivered a wonderful album of modern pop/AOR. His voice is ideally suited for what Last Autumn's Dream is all about. As expected the album mixes influences from all those involved, with some of Erlandsson's fine melodic flare especially in the delivery of his vocals evident, as is some of the guitar driven pomp of Fair Warning and the power rhythm of Europe. Essentially, LAD is a collection of powerful European styled melodic hard rock tunes with a strong melodic base. The powerful trio of Levin, Micaeli and Haughland provide their usual highest quality performance and give a real edge to the material. Track By Track: Again and Again opens the album with in the exact fashion and with the required gusto one hopes for. The uptempo keyboard/guitar filled rocker sets the album up nicely with some powerful vocals and a great hook filled chorus. Doin' Time is an exclusive bonus track for Europe. It's a nice addition, but I'm not sure it fits the flow of the album at track two. It's more reminiscent of Erlandsson solo and might have been better towards the end of the album. Still, it's a mid-tempo 80's style AOR track with another great chorus hook. Guardian Angel is the first big ballad of the album. It features a lush arrangement that highlights the power of Erlandsson's voice before building into a big sing-along anthem. Break The Chains (Of Destiny) features a lengthy guitar intro before rocking to life as one of the album's best tracks. This is what I would have liked to have heard a little more of. This track really rocks and the raspier, edgier vocals really suit the music. Blink Of An Eye is a breezy, feel good melodic rock track that's quite the opposite of the more it's more intense predecessor. Talk To Me ups the intensity again, with a good powerful mid-tempo rocker with another very strong chorus. The One is a soft, sentimental ballad that fans of solo Erlandsson will enjoy. Solid, but not as good as earlier tracks. I Never Let You Go is another album highlight. And no surprise, it's another darker, moodier rock track with a gritty and powerful chorus. High Up rocks as hard as Break The Chains and features more strong vocals and a tough hard edged guitar riff come chorus time. Movin' On is another breezy mid-tempo pop number that again reminds me of the solo style of singer Mikael Erlandsson. Going Home is a rocked up mid-tempo ballad to farewell the album. Pretty much typical European melodic hard rock with a sentimental twist here nothing new, but enjoyable nevertheless. There are a couple of small issues the album has that seem fair to raise. Firstly, Erlandsson sounds fabulous when he is pushing his voice with the harder edge delivery required by this project. But it could have been pushed even further. The best tracks here are the darker, heavier ones. And secondly, the production could have been a little sharper in places. It's solid, but not as clear nor as crisp as it could be on a few tracks. It's only really noticeable as there is so many things going on within the music. Minor point. Those two things aside, it's still a fine slice of melodic music and will be rated highly by fans of those involved.
The songwriting is high quality, even if it's nothing unexpected. What the band does is set things up nicely. Now it would be great to see them go on and do another album, but with a mind to making it even more intense and classy, like this album is in places.
|
|
Eric Martin Destroy All Monsters |
Frontiers Records FRCD 174 |
|
|
I'm going to raise the rating of Eric's olo album to a must buy 90. It's only 2 points from my original review of the Japanese release a couple of months back. But with the benefit of hindsight and more listening time, I believe the album deserves that push to 90. It turns out that Destroy All Monsters is actually more musically consistent than it's predecessor, with a common thread throughout all songs and given time and an open mind, it has more to offer under the surface than first realized. That all said, my initial review was still very positive and I still agree with everything that was written. This is a more modern styled pop record, but it remains very melodic and very catchy and the style of delivery suits the tone of the album. I still prefer I'm Goin' Sane as an album and a musical direction, but this is another fine addition to the Eric Martin solo catalogue and is therefore a must buy for fans. Eric's new solo album comes only 12 months after his last which is a very short time considering the time between past solo albums. I'm enthusiastic that the former Mr. Big singer is on a solo roll. The I'm Goin' Sane album was the beginning of a change in direction for Eric. It was an album with an updated feel and a modern rock faηade. But the album retained a melodic rock heart, even if it was in a more aggressive form. The album was part nu-breed, part modern rock and partly drew on Eric's own distinct sound. Destroy All Monsters uses the sound of I'm Goin' Sane as its launching pad, but is further removed from Eric's past. This album signals the singer's intentions to move in an even more contemporary direction. There are a number of points one can make about the new album. The sound is far more stripped back and a lot rawer than the last album. It seems to have been very simply recorded it has a definite live feel to it. The aggression of I'm Goin' Sane is also gone this is a little more laid back. And it's definitely more pop than ever before. The songs are also simpler. They too have been stripped of any unnecessary padding. There are no big overdubs or special effects and the structure of the songs is uncomplicated. Essentially these are pop songs delivered with a guitar fuelled enthusiasm. Distorted pop as Eric calls it. What portion of Eric's traditional fan base will want to move forward with him? As far as song quality Eric has a unique talent that is rivaled by few other songwriters/performers. For these songs as simple as they are remain catchy and memorable. But I did find the hooks and choruses harder to find this time around. You really have to work hard to get to know the songs, but once you do, you are rewarded with some great hooks. A few of the songs don't work as well as others. Personal taste will determine that for each listener. I just don't think the choruses are as strong as the last album and there is certainly a lack of any big anthems like Goin' Sane or Untouchable. Track By Track: What's The Worst That Could Happen opens the album. It's a familiar sound for those that enjoyed the last album, as it's one of the closest tracks to the lighter moments featured on that. Immediately Eric employs some great vocal hooks in the verse and the chorus is instantly infectious. Kansas is very modern pop. Stripped back and simple in its delivery, it reminds me of the first Rubber album. I'd prefer something heavier, but the song does have its charms especially in the chorus, which is seamlessly entwined into the song itself and is over just as you realize it started. I Woke Up Too Late is a slightly harder edged track which is more in tone with the last album and features a cool lead guitar riff. This is another album favourite and has a bound-along feel good guitar and drum beat driven chorus. An album highlight. Janie Won't Open is a darker, mid-tempo modern rock track that is really rather catchy. This is one of the sleepers on the album getting better with each listen. It's that quality of songwriting that comes through, even when you are not sold on the style of the delivery. Where Are You continues the dark modern pop vein of the last track and that of Kansas. The chorus is fairly laid back and doesn't grab me just a little too slow. You're Too Good For Him is an album highlight. This falls back to Eric's well known love of acoustic driven tracks. This ballad features some beautiful lyrics and has a haunting quality and a smooth vocal that should hook the listener first time around. Living In Back And White continues the laid back theme of the last few tracks. It starts as a slow rock track, but changes to an acoustic chorus which in contrast to the verse, is very smooth and very memorable. It's definitely time to rock again and Something There does just that. This is an uptempo pop/rocker with a feel good heart, just like the opening track. The chorus is also one of the better on the album. What If is a short nu-breed/Rubber style modern punk rocker with a brief chorus and a more aggressive feel. I Can Die Now has an also reggae beat, as the song swaggers along in a rather laid back fashion. It has a relatively catchy vocal hook, but I'm not sold on the song alone. Burnin' In My Mind is a cool track. It's a good uptempo rocker with a distinct chorus that will please long time fans of Eric's. If is another uptempo nu-breed punk rocker that features some strong vocals, but no defined chorus as such. Not a band track to close the album though the tempo and strong vocal are certainly attractive features.
It features some more great songs and plenty of melodies, but they require a little more playback before their charms are revealed. Some fans aren't going to warm to the latest style. But Eric might in turn, find some new fans.
|
| Influences & Connections Volume 1 - Mr. Big | Frontiers Records FRCD 175 |
|
|
Influences & Connections was previously reviewed a few months ago after its release in Japan. Frontiers Records have picked it up for Europe and will release it at the much fairer price January 19. I've had a while to live with the album now and I am happy to keep all initial comments regarding the release. The below text is my original review. There is one change to the European release from Frontiers and that is the addition of a bonus track. Thank God someone was wise enough to add Alive & Kicking, featuring the supreme vocal talents of Glenn Hughes. This is without doubt the best track of the entire album and a welcomed addition. When I heard Glenn was doing this song, I was gob smacked to learn it was left off the Japanese release. I still don't understand why, but thankfully it's included here and is well worthy to be called the album's best track. It remains faithful to the original, but with the addition of the usual Hughes vocal acrobatics. Great stuff. And I still feel that it's a slight on the name Mr. Big to leave Eric Martin totally out of this project. This is a very interesting release. A little curious also. I was really looking forward to it and now that I have lived with it for a week, this review will reflect a lot of positives, but also a few negatives, as I was a little disappointed with the overall result. I'm a huge Mr. Big fan, so the idea of the guys in the band re-recording their own tracks with outside guests was somewhat appealing. The fact that singer Eric Martin has been totally cast aside though does leave a bad taste. He could easily have re-recorded one lead vocal or provided backing vocals along the way. But no the obvious personality issues within the band are all too evident with his absence. The choice of guests was also interesting. Some inspired, some not so. I'll comment on those within each track description. While the album as a whole is enjoyable, the track selection could possibly have been better and the running order also altered. It starts off slow and struggles to get out of first gear for the first few tracks. Major credit however, must go to producer Pat Regan. The music itself sounds a million bucks and sounds every bit the major label production job it is. The base band for most of the album is Lanny Cordola on guitar and Chuck Wright on pass, with Pat Torpey on drums. They do a great job. Track by Track: The album opens with one of the slowest tracks on the album. I would have though this would be better placed in the middle of the running order. Mr. Big is a very slow track and doesn't start the album with the usual pizzazz Mr. Big records are treated to. Having said that, there's nothing wrong with the track. Guest singer is the rather brilliant Paul Rodgers, who of course was responsible for the original song with Free. The rest of the band is comprised of the guys of Mr. Big, which make the track sound massive, with Billy Sheehan's bass all over this track. The track was never written by Mr. Big, therefore is a cover of a cover, but being the band's namesake, I'll let that slide. Take Cover is one of my favourite Mr. Big tracks ever. So it was always going to be tough going to improve on the original, which features a magic Eric Martin vocal. Here the songs features the guys of Kings X. Doug Pinnick is singing and at least does an admirable and unique interpretation, but it's a long way from the passionate vocals of Martin. The intense vibe of the track however, is kept in place. The first uptempo rocker of the album is Colorado Bulldog. Featuring Joe Lynn Turner up front, this version is a little flashier than the original, thanks largely to Marty Friedman and Lanny Cordola's guitar parts. Joe does his usual solid performance, making the song his own. I have a problem with the track Wild World. Firstly, it's the worst song Mr. Big ever recorded and is another cover of a cover. I really hate this song. I didn't even like the Eric Martin version of it! John Waite is featured vocalist and it's a shame to waste his contribution on this track. Would have much rather heard him sing Just Take My Heart or To Be With You or Take Cover even .now that would have been something special. In any regards, this is a nice and pleasant version, which is maybe better then the previous Mr. Big version. Like on his album Temple Bar, Waite has a unique and enjoyable way of interpreting covers. Still hate the song though Price You Gotta Pay features a ripping bass line from Chuck Wright and the always awesome Glenn Hughes on vocals. Guitars are by Lanny Cordola and the solo by Steve Lukather. Yes, this track rocks! The version is more stripped back and blusier than the original which I still prefer but it's always great to hear Glenn sing like this. Promise Her The Moon is an album highlight. This sweet ballad was another favourite of mine, this time featuring the always on song Ann Wilson. A sweet pop ballad. Time to rock again with another Mr. Big classic - Addicted To That Rush. The guys have turned this into an uptempo swampy blues rocker, with Billy Sheen on lead vocals and Chuck Wright shredding away on bass. The rest of the band is the last Mr. Big line-up. An interesting version, which varies from the original quite nicely. Just Take My Heart features another classic melodic rock voice Mickey Thomas. He plants his own stamp firmly on the track, which again features Wright/Cordola and a solo from Gene Black. This doesn't vary from the original much, but Mickey Thomas fans will love it. Shine is a step backwards. It's a classic track, but hearing Dogstar (Keanu Reeves, Bret Domrose) rework it is hard on the ears. Comparing the lead vocal to Eric Martin is like comparing Lemmy with Steve Perry. Skip Crawl Over Me is another track that was included on the last Mr. Big studio album. This version sees drummer Pat Torpey take lead vocal and Matt Sorum take over the drum stool. Like Addicted, this is more a good fun version. A good rock track. To Be With You is another bluesy version of the original. Richie Kotzen takes over lead and Steve Salas provides the solo. A cool version that's enjoyable, while not overpowering the original. Green Tinted Sixties Mind is another personal Mr. Big favourite. The original was a perfect slice of melodic pop and helped the band sell a truck load of their breakthrough Lean Into It album. But this version is bloody awful. Donnie Vie is responsible for the horrendous vocals and the song is overall rather lifeless and bland. Take out original songwriter Paul Gilbert and vocalist Eric Martin and the major is gone. Daddy Brother Lover Little Boy ends the album on a high note, with Joe Lynn Turner back for another go. Faithful to the original, this uptempo rocker differs only with the inclusion of Yngwie Malmsteen on guitar, who not surprisingly shreds throughout. Good fun. Included in the first pressing is a bonus DVD of behind the scenes 'making of' footage. Sadly, it's only 7 minute long. Yes 7 minutes. The interviews are brief, but interesting, but it's all over before it starts and there is no actual footage of in the studio performances. I hear a full length DVD is planned, with extra music included, but I'll be wary of buying it based on this extract.
For the most part the performances are first rate, aside from a couple of dodgy vocalists. The production is also first rate and execution is also very good, but a few tracks just don't have the life and vibe of the originals and a couple of tracks might have benefited from better placement. And points off for not including the other Glenn Hughes track that was recorded for the album. The great man doing Alive & Kicking would have been even better than Price You Gotta Pay and a mile better than Green Tinted Sixties Mind. Enjoyable, but overall - considering the quality of the originals and my love of all things Mr. Big a little disappointing.
|
| Mike Tramp Rock N Roll Alive | Ulftone Records |
|
|
Mike Tramp is rounding off the most recent chapter in his career with this double live release which was recorded in Denmark recently. His latest tour has been in support of his solo album More To Life Than This and this live set reflects that, with several tunes included from that album. Also included is some memories from recent times and the past tracks are gathered from both other solo albums and from Freak Of Nature and White Lion. I hate polished live albums, I love them raw, dirty and truly live but at the same time, I hate albums that sound badly mixed or don't represent the artists true live sound. Thankfully this album straddles the fine line between those two opposing sides and represents what every good live album should sound like. This is a perfectly captured club gig at Copenhagen's legendary Pumphouse Club - with an enthusiastic crowd in attendance and well oiled band on the stage. The recording is obviously quite stripped back and unpolished and missing the studio tricks of the original versions, but replacing that is a raw energy that brings the songs to life in a fresh new way. Tramp fans will already be familiar with the tracks. They are performed in a pretty stripped, loose fashion, with a few bits and pieces changed as the songs are delivered. In particular, I think the most inspired performances are evident on If It Ain't Gonna Rock, Falling Down, Mr. Death, I Won't Let Go, Better Off and the White Lion tracks Wait, Little Fighter and Broken Heart. Also included is an extended cover of Rocking In The Free World which features a cool tribute to some other classic rockers and a good solo version of the White Lion ballad When The Children Cry. In my own personal opinion I would have liked to have seen another couple of tracks from the Recovering The Wasted Years album included, as that is definitely the best album of Mike's career. Otherwise, the track listing is pretty flawless. I do have to say something about the CD cover. After two really good packages from Mike, this cover is a little underdone!
|
| Skin & Bones Speak Easy | Metal Mayhem MM00038 |
|
|
Skin & Bones are sadly no longer a going concern, but maybe the feedback from this release will encourage the band to have another shot. Singer Johnny Vance is now a solo artist, but I have no idea where the rest of the band are. Speak Easy is a compilation of all the band's recordings - and a very fine one at that. The band recorded one full length album and a 6 track EP, both of which are included here. Tracks 1 to 5 and the last track off the CD belong to the Madhouse EP and tracks 6 to 16 are the original Not A Pretty Sight album. Madhouse was a self produced EP and sounds a lot rougher and rawer than the polished album material. The budget clearly wasn't in place to achieve crystal clear results, but the songs remain highly entertaining. The band know how to write great songs and if attitude filled rock n roll is your thing, these guys deliver all that and more. Tracks like the big ballad anthem Mr. Downtown really should have been all over radio back in the day. The Not A Pretty Sight album is very hard to find these days, so it's great to see it available again. The album was produced by Duran Duran's Andy Taylor and was co-produced and engineered by Mike Fraser. It's obvious to see some good money went into the recording and the results are as good as you could hope for. It's very slick hard rock indeed. This set of 10 tracks is perfect early 90's sleaze hard rock with a touch of stadium rock and glam in the mix. Andy Taylor's influence over the sound is clear to hear. He has a knack for tight, high quality recordings and this is no different. It's perfectly mixed, sharp and clear. For anyone following Andy's work, you will hear direct comparisons to the sound and style of his Dangerous solo album and the other band he was recording at the time The Almighty. At times this album sounds like a younger brother to the Taylor produced Soul Destruction album and tracks like the semi-acoustic Cover Me With Roses could easily have been included there.
|
|
Secret Smile The Road Less Travelled |
Metal Mayhem MM00037 |
|
|
Most times an album from a group I have never heard of before will get a preview spin in the CD drive, before going back to it at a later date. But Secret Smile's material is so strong it stayed in the drive for a complete spin and then I went back and played it again. This little gem comes out of the blue, but is set to make it's mark thanks to the strength of some good songs and instantly likable melodies. The band recorded this last year I believe, with the engineering help of AOR star Jeff Canata. The musical style is very much a mix of traditional 80's AOR and keyboard friendly melodic rock. That alone will guarantee it finds a strong following among those that frequent this site. The opening track Into The Night features such a pleasant melody that it should rank as one of the year's better tracks, but it's not alone. Stop & Go also contains a great hook and some luck keyboards; Just One More Time is a memorable and sentimental acoustic driven ballad; Around is a great two-paced track with a big chorus, with Tell Me Why and Come In From The Rain also impressing with their easy going nature. The production isn't big budget, but it's evenly mixed and perfectly assembled thanks to Jeff Canata, and contains good doses of guitar and keyboards. Lead vocalist TJ Gabriele has a great mid-range tone that does the songs perfect justice. It's nice to hear some traditonal style AOR that isn't related to the Journey sound for a change.
|
| TNA Branded | Kivel Records |
|
|
TNA fit in with the Kivel Records stable of releases very easily. This is another good example of American guitar riff driven 80's hard rock that could easily be sat alongside fellow Kivel releases such as No More Johnny, Damn Cheetah or Pyn Siren. The band's debut album Finger On The Trigger was released a couple of years back and offered some good 80's inspired American hard rock. Branded is much the same, except it presents us with a selection of songs that are definitely more powerful and better produced than the debut. The band rely less on sounding like other artists and are more true to their own sound, which is guitar driven late 80's/early 90's style American hard rock. It's not the catchiest record ever released, but contains some solid melodies and some inspired guitar playing and if anything, is very consistent throughout and will get better each and every listen. Track By Track: Society acts as an intro into Lies, Guns and Violence, which contains a great hook and lead guitar riff, but both are featured in the verse rather than the chorus - which could have been catchier. The track is still a solid guitar driven rocker though. Do You Remember is a far mellower and darker number, with a great verse vocal and a chorus that features another memorable vocal hook. Overall, a very cool moody mid-tempo rock track. Walk Before You Crawl is very much a homage to early Van Halen. This is a party rocker with a gruff vocal and some inspired Eddie VH guitar riffing. Rain has another feel to it again. This is an uptempo, but more melodic and moody rock track who's best feature is the lead guitar riff. 9 Lives is a semi-acoustic mid-tempo track with another strong vocal and a short, but catchy chorus. Feel It features a harder edge vocal and a slight modern feel, and could be a track that is rated better by listeners each listen. It's not an instant track by any means. Great guitar riff. Eva's Song is an enjoyable 2 minute guitar instrumental. The Sound is another uptempo rocker, but could have used a better chorus. Scream is a good heavy rocker and closing the album is Kill Your Idols, a track which finishes off the album nicely. It's one of the more aggressive and high-octane tracks of the album.
|
| John Sloman Dark Matter | Majestic Rock MAJCD007 |
|
|
This is a challenging record. It's not a stock standard release in anyone's definition and features a wide mix of styles and moods. John Sloman has been around the rock n roll block. He was previously frontman for legendary Welsh rockers Lone Star, then was vocalist with Uriah Heep and Gary Moore, and worked with UFO and Todd Rundgren. This new solo album is a very dark and somewhat moody record and won't appeal to fans of the light and fluffy side of rock. It will however appeal to those that search out the unusual and love the challenge of analyzing very personal lyrics and deep songs. The best way I can describe this release is comparing it to Richie Kotzen especially on his most recent release Change. John's vocals aren't a world away from those of Richie's and his knack for delivering varied, but consistent material is paralleled with the talents of the acclaimed Kotzen. Joe Public for example is simple blues influenced pop rock, while New Day is heavy alternative and Room At The End Of The Hallway is more akin to a retro Jimi Hendrix style song.
|
| Sayit Louder | MTM Music 0681-85 |
|
|
This is Sayit's third solo album, but you have heard much more from him than these three albums. There is also the guest spots on albums such as Radioactive, Prisoner and Jim Jidhed. This is another example of smooth melodic rock from the Tommy Denander stable of friends and family, so there should be no musical surprises for anyone who purchases this. Vocalist Geir Ronning is well known, Tommy produces the album, as well as co-writing it all with Geir and Sayit and Chris Demming provides backing vocals. This is probably the best produced of the three Sayit albums and the best too. The songs are that little bit stronger, featuring more memorable choruses and the use of just the one vocalist help the cohesiveness of the album. It's also a little tougher, with more emphasis on the guitar taking a dominant role in the music. Lead guitar is right up in the mix with the vocals and the sound is more melodic hard rock than Westcoast/AOR. The great Tony Franklin guests on bass on a few tracks. There is no mention of what tracks however, so keep your ears open. Some tracks work really well (The Queen, I Am King especially) and a few others don't as much. The main problem with those that don't work is the lack of a bigger chorus hook or musical impact come chorus time. It's something Tommy has nailed on his last couple of projects, but needs further work here. The best songs are the ones with the monster choruses.
|
| Far North What?! | MTM Classix 0681-86 |
|
|
Another MTM "Classic" re-issue, but a band I have never heard of up until now. I thought I was pretty well versed as far as what albums in this genre are definite classics or sought after rarities, but this was a new one for me. So I listened with great interest, but sadly have failed to be inspired. This album was released in the early 90's, but suffered withdrawal soon after as the label at hand went bankrupt. So here is our chance to get the album again. This Swedish AOR group sound like their album was recorded in the early 80's, featuring lots of swirling keyboards and some rather "pop" vocals in the vein of several European AOR acts of the early-mid 80's. On top of the pleasant, light AOR/pop style delivery of the keyboard dominated songs is some Yngwie style shredding guitar solos, which come as some surprise. It's done in a way so as not to be out of place, but it doesn't entirely match the vibe of the songs. Sadly, I just can't warm to the album. The production is ok - typical mid-80's style European AOR mixed with an occasionally tougher guitar driven passage - but the songs themselves just don't grab you. The choruses aren't strong enough and the general melodies don't rate as classics by any measure. And I'm not sold on the vocalist either.
|
| Doc Holliday Good Time Music | MTM Music 0681-84 |
|
|
When one looks forward to a release from a melodic label such as MTM Music, you can generally anticipate the style of music that will be present. Well, be warned with this one! If you are not already familiar with Doc Holliday, either through one of their previous releases or MTM's issuing of their Best of The 90's CD, the band are NOT hard rock, melodic rock nor AOR. They are American Southern rock. Nothing heavy or in your face here, just relatively laid back guitar/organ driven blues/boogie. I have no idea where this album fits into the general scheme of MTM's stable of releases. They are widening their horizons clearly, but I can't imagine traditional melodicrock.com readers will be so willing to do the same. The album itself is average. It's far too laid back to get me excited - I much preferred the recent Allman Brothers Band and Lynyrd Skynyrd releases. If you like blues/southern rock then this is worthy of some soundbyte downloads to check out, but listen before you buy.
|
| Last Tribe The Uncrowned | Frontiers Records FRCD172 |
|
|
Metal with choruses love it! The key to any great album is strong songs memorable hooks and good choruses. No matter the style of how heavy the music, there must be something for the listener to hang on to. These guys nail it. I can hardly believe they are on their third album already. The first two impressed and this is no different. The guys play their own brand of European melodic metal, adding little twists and turns to keep it ever more original, keeping fans heading back for more. So we have the good songs add a powerhouse vocalist, a pounding rhythm section and world class production and it doesn't get much better than this. Like Masterplan, Last Tribe know how to craft a great song without sacrificing good riffs and memorable choruses. And like Masterplan they vary the delivery of the songs. Some songs are straight ahead power metal. Some have a leaning towards neo-classical, some have a slight progressive edge. All have melody and class. Track By Track: Healer opens the album. This is a powerful, uptempo opener with double kick drums flailing away over the powerhouse delivery of the guitars. The chorus is almost instantly catchy, which is a great feat for such a heavy approach. A very memorable opener. The Uncrowned is slower in pace and somewhat darker, although the pace picks up as the song goes. The inclusion of some keyboards and a harmony filled chorus make the song sound a little more commercial than you would normally expect. Another catchy and memorable track. Sacrifice is a heavy Dream Theater style ballad. The chorus and layers of harmony and musical filling make this one of the best metal ballads of the year. The Chosen One picks up the pace again. Things never really slowed down, but the delivery of this song again builds the intensity of the album. This is a pretty long track with some superb guitar soloing and a heavy as rhythm section. But always there is melody and hooks. Otherworld is another heavy rhythm section fuelled rocker. The chorus isn't as strong as other tracks, but it still makes for good listening. April Sky is a brief one minute interlude. It's a nice segway into Sound of Rain which starts softly, but quickly builds into a mid-tempo heavy rocker with another solid chorus. Only the Innocent is a real uptempo number, with the drums seemingly going another pace higher again! A dramatic song, with plenty of progressive touches and some solid melodies. Call of the Tribe is a heavy mid-tempo guitar driven track featuring more frenzied double kick drum action and some inspired guitar soloing. Full Moon closes out the album. No let up in intensity or heaviness here. Another good track with a simple, but memorable chorus melody.
|
| Bon Jovi This Left Feels Right | Island Records |
|
|
Bon Jovi's new re-recorded Best Of release is more a question of "what if?" rather than what is. What could have been, rather than what is on offer. I'm quite open to hearing new interpretations of past hits, but it's a huge double edged sword. How do you pay homage to tracks already made classic and adopted by many as personal anthems, yet do something different enough with them to warrant the exercise taking place. I was quite interested in hearing this, but as has been the case with the last 3 Jovi releases the promise held isn't necessarily repaid. Don't get me wrong this is very slick. It's very well produced and flawlessly executed. But it just don't have any wow factor. I am a fan of Bon Jovi's past acoustic renditions of their mega-hits. The guys have done it numerous ways live over the years, with the occasional bootlegs and live B-Sides well worth collecting. In this case it seems the band have been most concerned with updating their sound and modernizing the delivery of these classics. While listening to the songs, I the majority of my thoughts drifted towards wondering what could have been, or wishing particular songs were different to what they are. This seems to be a little too cleaver for the sake of being cleaver in places, then rather bland in others. It must be said that the production here courtesy of the super smooth and high-tech friendly Pat Leonard is first rate. The layers of instrumentation are lush and the band couldn't have picked a better producer to help them modernize the songs with various effects, tricks and modern pop traits. But how will the fans feel about this? Track By Track: Wanted Dead Or Alive is probably the most dramatic transformations and opens the album. It's an interesting version, but in my mind falls short of what could have been much like several other tracks here. I don't like the fact that the verse features Jon's vocals filtered through various effects. I do like the super heavy guitar/drum rhythm that kicks in occasionally and would like to have heard more of that. I'm also left to ponder where Richie Sambora is vocally. This became and continues to be a huge song for him and Jon to duet on live. Why not do the same here? Livin' On A Prayer is one of the band's best ever songs and a personal favourite. Here it has been stripped right back to a slow tempo ballad with an atmospheric chorus that suits the song. It's not a long way from what has been done by the band live. That's the good news. The bad news is once again where's Richie? The song is a duet with a female lead vocalist. Why not again take the opportunity to feature the very underrated vocal talents of Mr. Sambora? Oh well, minor point, the song actually works really well. It would be hard to kill a classic such as this! The new Bad Medicine is sultry mid-western ballad with a slightly country-ish tinge to it. The bad news is that the verse simply has no vitality. It's as flat as a roadkill rat. It's My Life features some nice instrumentation a beautiful harp to open, some haunting piano throughout and some lush synth/string effects over a very laid back vocal. This track works a treat and is very enjoyable. Lay Your Hands On Me is another old personal favourite. Here it features a rich acoustic layer and a strong, but restrained softly sung lead vocal giving the track an almost Gospel feel. Maybe it would have been cool to take it all the way and develop that angle further? You Give Love A Bad Name has been turned into a swampy blues ballad, with at times, a horrible twang in the lead vocal. Not sure what JBJ was trying, but I don't like his delivery on this track. The track is again stripped of much of its natural energy. Bed Of Roses was and remains a ballad. It's had strings and a more pronounced piano part added to it and has been jazzed up with some slick production techniques, but otherwise remains pretty much the same. Everyday is been turned into a modern ballad of sorts. It picks up the tempo mid-song into an acoustic pop track with a slight country feel. Born To Be My Baby is another mid-tempo tune that is a few notches slower than the original and features several layers of guitars acoustic and bass and is another track that seems to have had the life sucked out of it. Another intervention from Richie Sambora could have given it a lift and returned some intensity. Keep The Faith was a watershed song for the band. It signaled their re-invention back at the early 90's. Not so here. This time we have a soft, slow acoustic ballad that has a style that has been done 2 or 3 times already on this album. I'll Be There For You is another original ballad that is featured. This one has had a bit of work done to it now more in a Beatlesque style with a couple of extra layers of effects and a soft, raspy vocal from JBJ. Always closes out the album. The band has chosen one of the better tracks to ensure the album ends on a high note. This track remains a ballad, but has been made even more intense and modernized by some good production effects and a new layer of keyboard dramatics. A good sentimental ballad that has been intensified and made that little bit darker.
The main problem is the pace. Bon Jovi again prove they are getting too old to rock with a 12 track collection of ballads. Some tracks work extremely well, but as an overall album, it's just a little too laid back. The bottom line is that I must question how much I am going to listen to this. I'm still playing New Jersey, Slippery When Wet and Keep The Faith today many years after their release. I can't see myself playing this next month, let alone years from now.
|
|
Cornerstone Once Upon Our Yesterdays |
Massacre Records |
|
|
Doogie White and Sten Morgensen are back for Cornerstone album number three. The band, through their first two albums, has really gathered a huge following. The debut was a slice of great intense, dark AOR. Last year's Human Stain was a lot heavier and more intense again. And now Once Upon Our Yesterdays is different again. Good to see the line-up has remained in tact, with Mike Tramp guitarist Kasper back, as well as drummer Allan Sorensen. In some way, the album falls between the styles of the two albums. I am not yet sure where fans will rank this album. I'm leaning toward it being their best to date. The songs are just fabulous and Doogie's vocals are nothing short of amazing. Some fans will be a little alarmed to hear the album isn't as heavy as Human Stain, but that doesn't mean it wimps out. It remains tough, in your face hard rock, just a little more straight-ahead, for lack of a better description. The most notable thing about the album is the super clean, tight and balanced production. It makes this a far less complicated album. There is a lot going on musically, but it seems stripped back, with an open and accessible sound. Each track is filled to the brim with melodies to listen to at every turn. This really does come across like a major label release. Track By Track: Welcome To Forever is a good opener. The track has the necessary and expected - instrumental intro/build up before kicking in. When it does you will notice it's not as heavy as it could be, but still features a furious kick drum and a really clean guitar riff. Doogie moves straight into high gear as does the rhythm section. The song features a strong and memorable chorus with a strong lead guitar riff. When The Hammer Falls is a tough, hard rocker with a great lead vocal and some intense guitar play. The chorus is as menacing as Cornerstone can be, but its Doogie's huge vocals that rule the track. Passion To Warfare is a mid tempo rocker that features an interesting intro before launching into another super tight guitar riff. The chorus is rather smooth and moody affair, with Doogie taking on a different tone. Hour Of Doom features another great vocal performance. This is a somewhat lighter, but more uptempo rocker with a chorus that takes a couple of listens before becoming one of the albums' best. This track has a great melodic bridge and some snappy lead guitar before retreating back into a less intense verse. Man Without A Reason is nothing short of a beautiful ballad. Doogie takes it to a new level without doubt with some powerful, passionate vocals. The song itself it fuelled by some great slow bluesy lead guitar soloing and a really strong melodic hook. 21st Century Man fires things up again with what might be the heaviest track on the album. Organ, drums and guitar all kick into high gear with a big lead vocal. The song itself is pretty simple uptempo European hard rock at it's best. Once Upon Our Yesterdays is another cool track. It's dark, heavy and slow track that builds intensity through the moody verse to a slightly heavier chorus. The uptempo rocker End Of The World features a strong Celtic vibe. A monster rhythm section and a strong lead vocal keeps the track rolling along. The track is one of those really musically intense tracks that isn't an instant hit, but a solid album track. It's time for another ballad. Some Have Dreams is acoustic to start, before the full band kicks in to fire it up a little. The song features more great guitar parts and a strong chorus that gets better each play. Nice to hear a big dose of Hammond organ in the mix too. Scream closes the album. The song runs through a short guitar intro before bursting to life. This is another big epic feeling rock track with a powerful, intense sound that features another fabulous vocal. Surely this is Doogie's best work to date. No major chorus, but a super intense song with layers of melodies to get to know.
This is not a hit chorus type of album. The album is best enjoyed by playing it start to finish rather than picking out individual songs. It is a great melodic but heavy rock album. I can't imagine many/any better European hard rock albums appearing this year.
|
| Johnny Lima Made In California | Frontiers Records FRCD 156 |
|
|
Johnny's back! Well, he never really went away, he just took a hell of a long time to get this new album finished. This is his third and is the follow up to the much acclaimed Shine On album, released in 1999. Has it been worth the wait? Of course it has! This album isn't perfect, but it is his best album to date and will please his patient fans completely and with any luck, will open him up to some more new fans. Mr. Lima is supremely talented, playing most of the albums parts himself, as well as writing, mixing and producing it himself. Due to his painstaking desire to get everything perfectly aligned, the album at no stage sounds like a one man band. This is a big sound, big production and big classic melodic hard rock! If only all artists took as much time to make sure things were perfect. Mind you, let's do it a little quicker next time Johnny Made In California takes up exactly where Shine On left off more fired up, American stadium rock, with a couple of sentimental lighters-in-the-air rock ballads to round out the album. The production is more complex, but the songs remain pretty simple. It's easily accessible stuff for fans of the classic melodic rock sound. The album features some fantastic bombastic harmony vocals, which I know is something Johnny worked hard on. The best parts of Def Leppard, Bon Jovi and Winger are combined to deliver a rollercoaster ride of high energy rock n roll. On the down side there isn't really anything to talk about, aside from the fact we have waited 4 years for only 11 songs that run a total of 37 minutes. A couple more tracks would have been nice, but we'll forgive Johnny as long as another album is delivered this time next year! Track By Track: Made In California opens the album with a nice hard guitar riff. The track is a mid-tempo hard rocker with a good dose of in your face vocals, riffs and some accompanying keyboards. A nice opening with some good fun lyrics as is always the case with Johnny. Best Night Of My Life really cranks the album into high gear. This is an uptempo melodic rocker, written about Johnny's first appearance at The Gods festival. This track has everything visitors to this site look for in melodic rock songs. A big sentimental feel good chorus, with an instantly likable hook, layers of guitars and keyboards and a mass of harmony vocals. An album highlight. The Chosen One is a short, moody rocker. Vocal hooks are the key to getting into this track. The sound isn't as clear as the opening tracks, and the chorus pretty brief, but like I said, the vocal hooks work a treat. Go On, Go Away is a breezy feel good pop rocker with another instantly likable Def Leppard style layered chorus. We've Got Tonight is a mid-tempo Bon Jovi styled ballad that is another album highlight. Johnny's lead vocal and the subsequent harmony vocals are fantastic and the sentiment of the song will see it on many playlists for some time to come. Another Girl is possibly no definitely the best track on the album. It's also the most tongue in cheek lyrically great stuff. The song itself is the most uptempo number and is pure Def Leppard pop-metal. A huge anthem chorus with an additional lead guitar break sends the vibe right over the top. From the best song of the album to well, the worst. Sorry Johnny, but I'm not a huge fan of the cover of the Beatles track Help. It's done in complete parity to the style of the rest of the album this is Def Leppard does The Beatles, but I'm not a fan of the song and would have preferred another original track. Love Ain't Enough sounds great from the opening riff. This is another big pop/rock anthem that would fit easily on Def Leppard's Euphoria or Adrenalize. The album's big power ballad is the very sentimental Something About You. This is another album highlight and maybe Johnny's best ballad ever. It's just a great mellow ballad with a big feel good chorus that again sees the man in fine voice. Where Are You Now is an interesting track. This one is a darker, moodier rock track that gets bigger as it goes. The chorus is surprisingly light and melodic compared to the darker vibe of the rest of the track. Welcome To My Paradise closes out the album. This is another darker style track, with a solid chorus and a powerful delivery. A good rocker to close the album.
|
| Toto Live In Amsterdam | Eagle Records/Video Arts VACM-1235 |
|
|
My favourite Toto live album there have been 3 since 1993 is that first one Absolutely Live. I just love the vibe of it. I was a little disappointed in Livefields and held no major expectations for Live In Amsterdam. There is an accompanying DVD, but that is yet to arrive, so let's talk about the CD release. Sadly, to get the full release, you will have to import the Japanese version at great expense, as it's the only territory that is getting the full track listing on a 2CD release. But, it's well worth it, as Toto really deliver the goods here. The sound is immaculate and the band is as tight as they ever have been. I still don't think the track listing is ideal, but that's more a reflection of my personal taste and my love of other Toto tracks not featured. The band cram as many tracks in as possible my adding 1 and 2 minute versions of more than a few tracks in medley form, which works great in the context of the album, but might also leave fans of those songs wanting more. But Toto have a huge track list to select from and the gig can't run 5 hours, so this is maybe the best way to deal with that issue. A definitive 3CD live release might be cool one day though. The tracks that are included in full 6 of the 17 tracks on CD1 and most of CD2 are just brilliant. Girl Goodbye is a great intro, which builds the mood and the tempo (as well as highlighting the wonderful band harmonies), while Gift With The Golden Gun really fires up and some of Steve Lukather's guitar parts are fabulous. While My Guitar Gently Weeps was one of the better tracks on the recent covers album and again showcases what a master guitarist and king of mood Lukather is. Bodhisattva is perfectly suited to the band's jazz rock roots, but I really don't like the song. Skip Africa is nice and raw and a little improvised. It certainly raises the roof on the venue. More great harmony vocals build the atmosphere again. Next follows a David Paich solo and another medley which is again as tight as a goldfish's butt. Die-hards will love this. Hydra follows and is as good a display of tight musicianship as you will find. The rest of CD is an improvised medley, which includes Lion and Till The End - two of my favourites, so I was definitely left wanting more here. CD2 kicks off with the big Lukather sung ballad I Won't Hold You Back awesome. Rosanna is equally appealing and although a little rough around the edges, is equally enjoyable. Afraid Of Love is big and bombastic, Hold The Line goes completely over the top. Great stuff. Possibly my favourite Toto track ever is Home Of The Brave. The chorus, or high impact part of the tune is not totally suited to Bobby's vocal range, but the track gets a good work out here. Closing the album is White Sister, the cool hard rocker that is perfectly placed and really sees the band rocking out. I can't imagine a better way to close the album.
Definitely a return to form after a disappointing covers album and far superior to their last live album. Can't wait for the DVD now
|
| Damn Cheetah Primal | Kivel Records |
|
|
Damn Cheetah is another band that has their roots set in the past. They are a band that has been around in the NY scene in the late 80s/early 90s and the material on this release sounds exactly as it was back then. The songs certainly have origins back then, some written and recorded back in the day and completed now for a release in 2003. Why not? Well, I can't find any good reason, as the songs within this debut are well worthy of release. Some tracks are also new, which explains why the styles within the album are varied. The raspy angst filled vocals of Les Brown are the album's strong point. Style wise the vocals and indeed the music could be compared to Skid Row, Cinderella, Shark Island, XYZ, AC/DC and While Lion. The band has a certain swagger to their music, mixing heavy blues with straight ahead 80's hard rock. Highlights include the hard rocking blues attitude of Maybe Tomorrow; the haunting ballad Forever And A Day, which would have been a MTV hit had it been released in the heyday; the David Coverdale vocals of the Whitesnake inspired heavy rock anthem Love Thunder; the powerful rock ballad Without Your Love, which mirrors Skid Row; the swagger of King Of The Hill and the Cinderella/Shark Island rock of Gimmie Gimmie.
|
| Styx 21st Century Live | CMC/Sanctuary |
|
|
Styx are really sailing close to the edge with this release. Someone needs to stand up and explain why songs from two previous live releases are being re-packaged without any warning to consumers. The mere fact that fans are stuck with another live album already was bad enough, but to view the track list is nothing short of a major insult to dedicated fans of the band. Already we have had Arch Allies and the expanded version of that, in At The Rivers Edge. Then the substandard Styxworld was released. Now the final insult 21st Century Live features 9 of the same tracks that appeared on Styxworld and just the 1 single additional track Renegade which in turn has already appeared on Arch Allies!! What the hell is that about??? Guys you are ripping fans off blind with this kind of trickery. Styxworld needs to be withdrawn from sale immediately. That album was an average live release to start with, now it's re-packaged as a new release!!! I can't believe I'm sitting here writing this. For a band of Styx's heritage, it's just plain thievery. I will not accept any attempt for anyone to blame the record label for this release. Clearly it's Sanctuary Records behind this, but if the band's name is on the CD, then they are responsible for it. What's even worse is the fact the band have just finished a full US tour supporting a brand new album, yet not one single track from this tour is represented here. Why? A fitting tribute to the departure of Glen Burtnik would have been the release of 2CD set of a complete 2003 show. The only single redeeming feature of this release is the fact there is a DVD included with an alternative song list. But wait! The majority of the live DVD tracks are again a tricky re-package from the already released Arch Allies DVD!! 2 tracks are from the 2003 tour (Kiss Your Ass Goodbye and These Are The Times) and Yes I Can is a studio footage video and there's also a 2001 version of Criminal Mind the Gowan solo track.
The band should be ashamed of this pointless release. The good work they did with the release of Cyclorama and the positives of the 2003 tour are being soured by this foul release.
|
| Wild Horses Dead Ahead | Z Records |
|
|
Wild Horses released one album titled Bareback in 1991. It really didn't do a lot of business. The band's claim to fame was that they featured a couple of guys that left Kingdom Come at the peak of their publicity trail. That was guitarist Rick Steier and drummer James Kottak both who were also in Warrant. The band was rounded out by vocalist John Levesque and bass player Chris Lester. On this set of recordings it's bass player Jeff Pilson along for the ride. He also played on the debut. What I am not sure about was when these songs were recorded. I believe they are all unreleased tunes that have been polished up for release now. I certainly don't see Steier and Kottak taking time out of their busy schedules to record a new Wild Horses album for little money. Tell tale signs are the differing tones and production qualities between tracks. Certainly this was not recorded all in one session. Singer Levesque was last seen fronting a band called Shout, which had a release through Escape Music several years ago. I'm no big fan of the debut, nor this album. It sounds ok, but to some degree I found some of the tunes a little bland. But there are some highlights. What's This Thing has a certain Van Hagar swagger to it as well as a stronger chorus, which is welcomed. Rebel Road is also a strong piano rock ballad. When Will It End has a Bon Jovi / Aerosmith blues rock vibe to it and Ride On also gets points as it's the best produced track on the album.
One for fans of the debut as this is clearly material that followed on from those sessions. But not strong enough to gather too many new fans.
|
| Heartplay The Album | VDS Music VDSCD03 |
|
|
There are a few archive releases around at the moment and Heartplay is another. But this one doesn't delve back too far it was originally released in 2001. Why it wasn't picked up for wider exposure then I am not sure, but here we are now anyway. Who is Heartplay? Well, they were a one-off project from Finland that features none other than Urban tale singer Kimmo Blom up front. The band certainly isn't far removed from the sound of Urban Tale, mixing the most commercial AOR of the band's debut album with a softer smoother Toto Seventh One sound. This is very smooth AOR. The album's songs are all very easy going; pleasant and relatively laid back Westcoast/AOR. The quality of the songwriting is good enough to ensure that there will be a new range of fans for the Heartplay album, even if there likely won't ever be a follow up. It's always good to hear Kimmo's voice, but there are also good performances from the keyboard player Sakari Solli and guitarist Tuomas Wainola.
|
| Bonfire Free | BMG |
|
|
Bonfire are really giving their fanbase something to talk about with this album. The reaction has been rather mixed and it's taken me more than a few listens to decide for myself. Bottom line is that I am disappointed. But I'm not a die hard Bonfire fan, so I can have some appreciation for some of the tracks here. I know others that have been alienated by this release though. Why? Because the album really lacks energy. The band has updated their approach to a more modern, sometimes darker style than the sound their 80's melodic hard rock heyday. The guys have a deal with BMG to release this across much of Europe, but it's not ground breaking or different enough to garner any new fans. But it's unfortunately different enough to displace original fans looking for some solid European Bon Jovi style hard rock. It will be interesting to see what the wash up is after this release has been out for a while. To be blunt the quality of the songs, style aside, just aren't strong enough. The album as a whole has a modern feel, but is rather laid back in reality. Many of the tracks are slow to mid-tempo at best. The opening track On And On is the album's heaviest and also the most modern and aggressive track, but the chorus just goes, well on and on. The poppier I Would Do Anything 4 U is better it features some solid guitar playing and a good solo and a catchier chorus. What About Love? is better again. This acoustic driven modern pop/rocker features a good moody vibe and a memorable chorus. Rock 'N' Roll Star (Born To Rock) kills the momentum built by the last couple of tracks. This modern rocker just doesn't rock. This album is a mixture of hit and miss. Free is a hit. A big hit. This is my favourite track on the album. Free is a big rock ballad with a modern feel to it, but a great rocking chorus that is pretty much an instant hit. Preachers & Whores is another song about wanting to rock, but just doesn't have the energy or a cool chorus required to make it work. Love Can Conquer All is an easy going mid-tempo ballad that has a better sound and a catchier chorus. Give A Little Love is similar in tempo and approach. No need for the same song twice, even if it is ok. September On My Mind is a little heavier and has a more modern tone. But is that lyric really saying " we are all American "? Clearly this is a homage to Sept. 11, but the track really doesn't include any memorable hooks. Friends closes the album. It's unfortunately a long and featureless acoustic ballad.
The style aside, the tempo is too laid back and most of the songs lack any major hook to reel in the listener. A few highlights, but not good enough for a band with such a long history.
|
| Steelheart Wait | Z Records |
|
|
This release is a case of good news, bad news. The good news is the album will now be more easily available, after an extremely limited indie US release and a short lived Asian release. Further good news is the fact that the running order will mirror the US indie release which was far superior than the rather bland Asian running order. And lastly on the good news front you won't have to pay a silly price to own this. Which is a very good thing, as the bad news is that the album really isn't overly special. It's certainly a long way from the classic debut and rates a distant third behind the band's first two albums. The line-up has little in common with those first two albums; this is really Mike Matijevic's project. Style wise, it's far more contemporary mixing modern melodic rock with more classic rock tones, with a strong Led Zeppelin vibe on several tracks especially the more uptempo ones. It's musically adventurous, quite complex and well written in places, but I fear that the majority of fans won't warm to the sound or direction. The main cause for alarm for fans of the band's original sound will be the lack of big choruses or any sleazy anthem rockers. By now you will be familiar with the album's opening track We All Die Young, which was re-recorded by Mike for the Rock Star movie. This version is the original and slightly more laid back. Live 2 Die rocks nicely, but in a modern and experimental way that won't appeal to some fans. Ahh Song is pure Led Zep with a modern twist. Electric Chair is an acoustic driven track that features a strong vocal and modern Led Zep sound. Wait is a very laid back ballad, but nothing in the style of the old-school power ballad that might be expected. Garden Of Delight is another musically interesting track, mixing that Led Zep feel with layers of acoustic guitars. Some interesting rhythms and beats are featured, but there's no distinct chorus in sight. Take A Little Time is a heavy, aggressive modern rock track. Good chorus, but average effects filled verse. Say No More is a heavy, slow to mid-tempo moody track that features strings and a strong lead vocal. Shangrila is another Zeppelin influenced track no real major cause for excitement. All Your Love is much the same except in ballad form. Again, nothing that's really catchy or amazing.
|
| First Shot Midnight Madness | Escape Music ESM096 |
|
|
First Shot features the quite talented Canadian singer/songwriter Marc LaFrance. He has recorded an excellent solo album and the first album from these guys. It's time for another, which features more songs from the vaults. Like the debut, this is a major trip back into keyboard driven 80's pop rock. In fact, this is even more 80's than the From Out Of Nowhere and From The Hip releases. This is prime early 80's stuff, with big choruses and hooks, all delivered with a soft rocking feel good sentiment. This release is not as cohesive a collection of unreleased tunes as the first album. The production quality and style varies throughout and it's plain to see that the tunes come from different sessions. But that's a minor point as an archive release, such is expected and the fans that this is aimed at are bound to embrace it with some passion. Highlights are the infectious opening breezy rocker Dealer Of Love, the soundtrack perfect ballad Somewhere In Time; the Starship/Mickey Thomas styled moody rock ballad All Through The Night; then Henry Lee Summer styled Don't Take Me For a Fool and the uptempo jazzy pop of It Must Be Magic.
|
|
Body Electric Walking Through Walls |
Escape Music ESM093 |
|
|
This is another re-issue from the good folk at Escape Music. It's been quite a year for re-issues, especially from Escape. Body Electric are (were) a Canadian outfit a duo infact - Bob Buckley and David Sinclair, who play, write, produce most of the album themselves. Helping out is Marc LaFrance on backing vocals. The band was originally known as Straight Lines and released two albums under that name before changing to Body Electric. An album and an EP followed before this album was released in 1987. The bio compares the sound of the album to Mr. Mister, Think Out Loud and Richard Marx. Can't argue with any of those, especially Mr. Mister, with the album's programmed high-tech feel comparable. Not vocally though. There is no Richard Page involved here! This is mostly jazzy pop rock / AOR, with further comparisons to Go West possible. I am familiar with most classic releases, especially out of Canada, for which I have a pet love of. But I was unaware of Body Electric and this is my first taste. To be honest, I can't say that they appeal to me personally.
What's great to see is the inclusion of 5 unreleased bonus tracks. That makes for a great value re-issue. I also read in some passage about the band that the album was produced by Bob Rock. Not so. The band produced the album themselves, with Bob mixing two tracks and the talented Mike Fraser mixing and engineering the rest.
|
| Renegade Back From The Dead | Renegade Sounds RS001 |
|
|
Renegade are a Canadian group that for some reason have kept this album under wraps since it was recorded between 1987 and 1989. The CD is a collection of 8 unreleased recordings 3 of which are outside projects, but all tracks feature the vocal talents of Marty Sippola and the musical talents of Jim Buckshon. Think back to the era of the mid/late 80's and press play. You'll find yourself there again, surrounded by Glass Tiger, Platinum Blonde, Boulevard and now Renegade. This is a great walk down memory lane, with 8 songs bathed in glorious sways of keyboards, big vocal harmonies and very radio friendly, lightweight vocals. A couple of tracks rock a little harder, but the majority are straight up keyboard driven AOR. Vocally I'm reminded of Alan Frew, musically the above artists are a fair representation. Although not recorded on a big budget, the songs have a high-tech feel in places, largely due to the drum programming, which was so prevalent at the time.
|
|
John Lawton Band Sting In The Tale |
Classic Rock Legends CRL1137 |
|
|
John is best known for his role in Uriah Heep in the 70's. He has also recorded a project with Ken Hensley in 2001.
This is his band's brand new album, which not surprisingly is centered around 70's classic rock with a heavy blues twist. This is a very well put together album. The production is smooth, but raw enough for the blues rock songs to breathe a little. The mix is clear and even, possibly favouring John's vocals a little. The album is dominated by guitars, but is nicely varied in its delivery. The tempo changes around and there are as many straight ahead rockers as there are slower blusier numbers. I'm impressed with the opening track, the rocker Written On The Wall, the bluesy Lately and the quite pop track Tracks Of Time. That in particular is a very catchy number.
|
| The Millions Million Dollar Rock | Z Records ZR1997090 |
|
|
The Millions are the first band to be released on the Z Records modern rock sub-label Stealth Records. The band is from the power pop capitol of the world Cheap Trick's hometown of Chicago, Illinois. As expected, that's pretty much what's on offer musically. Cheap Trick / early Enuff Z Nuff inspired fuzzy guitar melodic pop rock. Add a few punkish overtones and that nu-breed vocal delivery and you will be getting familiar with the band's sound. There are some catchy moments within the album. Gimmie Gimmie is one of the more pop tracks and also the catchiest on offer. It's on these lighter tunes the band excels. The heavier tracks tend to drown out some of the melody. Brand New and Heather impress. Elsewhere it sounds a little too much the same and the vocalist and guitarist don't vary their delivery enough to help more songs stand out from the pack.
|
| Clay Aiken Measure Of A Man | RCA |
|
|
American Idol runner-up Clay's debut album has all the marketing and major promotional tools behind it, so it's most pleasing to hear it's a pop rock album. The guy clearly is a good singer and has the backing of the American public behind him already. No wonder this album sold 850,000 units first two weeks of release. Amazing what a bit of PR can do for an artist! Aiken's debut album is a super slick selection of commercial modern pop songs, with a couple of syrupy ballads and a couple of more uptempo pop/rockers thrown in to round out the package. The songwriters used include Desmond Child, Clif Magness and the great Aldo Nova, so you know there are no dud tracks on offer here. It gets better with each listen and is really a very enjoyable collection of feel good modern pop songs. It's not really AOR. It's modern melodic pop, but that's as close to AOR that a major label will get to in 2003. The opening track Invisible is simply amazing the Desmond Child penned anthem is a clear album highlight. I Will Carry You is sweet mid-tempo modern pop ballad, and Touch closes the album with another good melodic track. In between it's pop ballads and smooth rhythms.
|
| Sun Caged Sun Caged | Lion Music LMC076 |
|
|
This Netherlands based band are about to get some progressive rock fans very excited. This new Lion Music release could well rate as one of the best progressive releases for 2003. The album features 9 tracks and 60 minutes of pure metallized progressive rock that fans of Dream Theater will immediately warm to. The band's style is not unsimilar to that of DT, with the James La Brie style vocals over a tough guitar sound that is intertwined with keyboard swirls and an ever changing rhythm section. While the band can't claim to be as original as DT, they can be just as entertaining in places, with some strong individual performances, plenty of chops and changes within each song and some good vocal melodies and song hooks. The production is solid, and of a classy standard smaller budget releases sometimes have a hard time achieving. There is only one slower song the closing track Unchanging, but there are segments within the other tracks that slow down for a period of time. Always good to help break up the album and create breathing space.
|
|
Human Fortress Defenders Of The Crown |
Massacre Records |
|
|
This is Human Fortress' second album, following up from their solid debut Lord Of Earth And Heaven's Heir. Much like the debut, this example of European melodic metal competes well with the big boys of the genre. Tommy Newton is again behind the production, which is tough and uncompromising. The album is a little more intense than the debut if that's possible. This is very serious stuff and features the highly entertaining vocals of Joti Parcharidis. He has a theatrical quality to his voice, ranging from a gruff Bruce Dickinson style delivery to a more over the top Rob Halford style. I can't pick between this and the debut, so I'm giving it the same mark.
|
|
Balance Of Power Heathen Machine |
Massacre Records |
|
|
This is the band's brand new studio album the first without singer Lance King. This is the band's fifth overall and John K is their third singer. The band's last album was really very good indeed. Perfect Balance was an apt title. Now Heathen Machine attempts to take the band even higher than before. John K has a Geoff Tate style high pitch vocal and fits the band pretty well. This certainly has a certain Queensryche feel, not to mention a little Rob Halford. There's still plenty to like here, even if it doesn't quite match the intensity of the last album.
|
| Pride Of Lions Pride Of Lions | Frontiers Records FRCD170 |
|
|
For those that have been living under a rock, Pride Of Lions is the new Jim Peterik melodic rock vehicle that features Jim alongside new discovery, vocalist Toby Hitchcock. Toby's just 25, but is happy to jump aboard Jim's first foray into traditional straight ahead melodic rock and AOR since Survivor. Yes, it has been that long! Jim has of course been as busy as he ever was, writing and producing with many artists including Kelly Keagy, Lynyrd Skynyrd, 38 Special and of course the monster debut Mecca album. But this is the first time he has performed and released his own AOR project since the late 80's. Since his departure from Survivor, Jim has toured and recorded with the reformed Ides Of March and released a debut album for his classic rock styled World Stage project. In 2001 Jim hooked up with Joe Vana to co-write and produce the awesome Mecca album, which also featured Toto's Fergie Frederiksen. That helped build a fresh desire to return to where Jim's heart lays traditional 80's style melodic music. Pride Of Lions is a real mixture of influences. It's a combination of everything Jim has done in the past, with a couple of other 80's influences included. The primary musical influence is clearly that of Survivor. This could almost be the follow up to Too Hot For Sleep, while elsewhere there are touches of Vital Signs and When Seconds Count. Then there's the World Stage factor. Jim has a naturally earthy feel to his songs, and that shone through with the Midwestern style of the straight ahead classic rock of World Stage. That continues here, as does the dual vocal approach on that album. Jim can be heard here trading lines and verses with Toby on several tracks and it works perfectly. The rough bluesy vocal of the master over the sweet harmonies of the young apprentice. There is also the Mecca factor. Just as that album included two lead singers, it had a track pattern of rocker/ballad/rocker/ballad. To some extent, that is also a feature here. It works well, as the songs are all perfectly crafted, but I do think there is one occasion where it hurt the momentum of the album. And just to prove he's the master at just about everything, Jim's written a couple of tracks that sound like they could have been included on Toto IV. I would be remiss not to talk of the new boy here Toby Hitchcock. This is Toby's first assignment as a vocalist and he passes it with flying colors. His voice is youthful, yet powerful and suits the music included here wonderfully. His voice can be compared favorably to that of Toto's Bobby Kimball and Survivor's Jimi Jamison, not to mention a little of Starship's Mickey Thomas. But one of the biggest vocal comparisons when Toby isn't flying into the high notes is to that of Mecca's Joe Vana. Yes, the two sound like brothers. Toby's debut is impressive, but as a young vocalist, he still has some developing to do. Which is scary really, as you can tell he's fresh, but his range and his tone is already fantastic. The only thing that will come with experience and with age is further warmth to his voice. Another important note about the album is the amount of guitar featured. On several tracks the guitar riffs come flying thick and fast. It features some of the most fired-up Peterik guitar parts since .well, ever! Track By Track: The album opens with the perfect mood setting intro, which bursts into the guitar driven It's Criminal. Toby's opening lines are commanding and authorative and set the album up perfectly. The song is pure Survivor a melodic verse and then a chorus that comes from nowhere, all the time building the intensity of the album. Although it's a fairly simple track, everything about it oozes class and for no other reason than it's perfectly crafted, the song is instantly planted in your head. Brilliant. Gone gives the impression it might be a ballad, especially with the piano intro. But the track fires up into a moody mid-tempo pop/rocker. Jim takes lead for the first verse, with Toby joining in for the bridge and then taking over completely for the massive chorus, which is another instantly catchy hook. There is no mistaking Interrupted Melody for anything other than a big ballad. The soft piano intro, the orchestral musical accompaniment and yes, strings. Like many Peterik songs, this one has another strong verse-bridge-chorus arrangement and as each chorus comes around, the intensity of the song builds. Perfect melodic rock, with some fine harmony vocals throughout. It's tracks like Sound Of Home which make life worthwhile. This is a textbook AOR anthem, with every ingredient included for fans of the old-school sound to get excited about. There's the driven guitar riff, plenty of keyboards, a melodic verse, building bridge and then a chorus that just goes right over the top! Jim sings the verse, with Toby coming in to take the chorus into overdrive. Magic stuff and one of the top contenders for song of the year. It's at this point in the album I would have liked another uptempo number. Prideland is a first rate slow to mid-tempo rock song, but the tempo was really on a roll after Sound Of Home. Despite that observation, Prideland is still very cool. It's a stripped back, reflective and somewhat soulful track that would have been at home on World Stage. Jim and Toby share vocals, and sound right at home together. The song features some fine soft guitar playing, as it builds throughout. Unbreakable is a straight ahead rocker, with plenty of guitar going in all directions. Toby's vocals are again commanding, while Jim's guitar playing is fabulous. Lots of little riffs and rhythms throughout. The tone of the track is quite dark and just that little bit aggressive. But the end of the track is what does it for me this is pure shred-fest stuff, with guitars and vocals all over the place. A great rocker and nice aggressive number! Reverting back to a more laid back feel, First Time Around The Sun is something a little different. The tempo is slow to mid-tempo, but the track is no ballad. Rather it is a pomp-ish, jazzy pop number that could have come from any early Toto album. Toby is dead on for Bobby Kimball, while Jim does his best David Paich. And to add to all that the song is as catchy as hell! Keeping the pace of the album flowing well is Turn To Me. This is another example of perfect straight ahead melodic rock/AOR with a major 80's keyboard slant, but a nice guitar riff for texture. Another pure Survivor track, this one features Jim and Toby trading verses and winds up with some great solo guitar work. Madness of Love is a mid-tempo and moody rock track that features more strong lead guitar riffs and another duel vocal performance. The verse is soft, the chorus is far more intense. Hard to compare this track another World Stage style track, but more melodic and definitely Survivor-ish. Love Is On The Rocks is another classic piece of keyboard driven 80's rock a la early Survivor and Toto. The verse remains fairly stripped back, then there's a bridge that builds to a slightly more powerful chorus. Pure 80's pop here. Last Safe Place is a classic ballad. Classy all the way and if the world was fair would find itself on the biggest movie soundtrack of the year and would be a #1 hit. This is a fabulous lighters-in-the-air romantic ballad that features a big vocal from Toby and a chorus that's an instant hit from the start. Another album highlight! Music And Me closes the album in the same manner that Rick Springfield has done on a few occasions with a storyteller track and an autobiographical one at that. The song basically describes where Jim's heart lies and what his music means to him. And for that reason, many will relate easily to this. The song itself features Jim upfront initially, with Toby joining in. This is a powerful track that is mid-tempo throughout, but builds dramatically through the mid-section guitar-fest, then switches tempo up another notch during a bridge section - before switching back to how it started. A rollercoaster ride if you will, much like most of this album!
It's also a long album the 12 tracks run just over an hour and the songs themselves aren't short. They all run 4 to 6 minutes. The great strength of the album is the diversity of the music. There are big ballads, moody mid-tempo tracks, soaring AOR anthems and guitar driven rockers. Something for everyone that loves old-school melodic music. Jim Peterik's songs once again come out as the winners in all this, but let's not forget the fabulous vocal talents of Toby Hitchcock, who is seriously only going to get better and better. To sum up this is really the stuff. This is the kind of album I live for. This is why I do this website - so I can pass on the good word about classic melodic rock and AOR albums like this. And this is classic. The debut Pride Of Lions album is everything we hoped for and expected of, the great Jim Peterik. Just about perfect, but certainly 100% classic!
|
| Perfect World Perfect World | Frontiers Records FRCD165 |
|
|
Perfect World is the new vehicle for Hurricane and former Unruly Child vocalist Kelly Hansen. This is a covers album with a difference. The tracks are fairly obscure to the general public and certainly to some fans of Hansen, but feature the vocalist giving his best vocal interpretations. The album features the same team behind the recent Joseph Williams fronted Vertigo album. The concept of a backing band recording new versions of previously written songs and handing over those tapes to a singer to add his vocal to is not one everyone will warm to, but the fact is, the concept has delivered two very fine melodic rock albums in quick succession and there is no reason to think the high quality will not be continued in future releases. The band is lead by multi-instrumentalist and producer Fabrizio V.Zee Grossi together with Alex DeRosso and JM Scattolin on guitars and Biggs Brice on drums. They do a fabulous job thanks largely to the direction and production techniques of Grossi. As with the Vertigo record, he has captured the essential melodic rock classic sound, but updated it with programming and production effects, vocal filters and a very smooth, often subtle delivery of those tricks. I don't think going through every track and its origin is overly important. Fans of various artists will pick up on this. But the Perfect World album contains tracks previously recorded and written by Amanda Marshall and Eric Bazilian, Pink, Paul Alan, Natalie Imbruglia and Plumb. Kelly is no stranger to singing covers he has appeared on several tribute albums over the years. He his very adapt at placing his own mark on someone else's songs and does just that. These songs are made into his own and despite not having a hand in writing them Hansen sings with all his passion - making them ever more memorable. Track By Track: Here With Me is a classic to kick things off. Soaring vocals and a huge chorus allow Kelly to shine and put the listener on notice this is going to be a good album! The song is pure melodic rock more AOR tinged than Kelly has sung for some time and his voice just sounds so good. The production effects help the song - and the album as a whole reach new ground, without alienating a single listener. Leaving Lonely is a moodier track, with a slightly more laid back feel, but an equally catchy verse and extended chorus both featuring strong vocal melodies. Just Like a Pill is the only really obvious cover on the album. This track was of course a smash hit for Pink, herself rather capable of belting out a rock tune when she wants to. But again, Hansen makes the song his own and carries the song on the back of a great vocal. I Believe In You is a mid-tempo ballad with some fine guitar play from Alex DeRosso and a monster chorus that would not have been out of place on a Hurricane album. Out Of Bounds continues the ballady feel of the last track, with a more stripped back song that comes to life in the chorus. Well suited to the album and the rest of the songs, but not a favourite. Something uptempo was needed about now and You'll Be Gone is almost that. Starting slow, with a soft vocal and guitar riff, the track cruises until the chorus rises a notch or three. Someday Soon is a first rate uptempo rocker, with a modern feel encompassing vocal filters and a Def Leppard X vibe. Then there's the great anthemic lead vocal and chorus hook. An album highlight. Do You Love is a big romantic ballad. This is lighters in the air time, but it's also not over the top rather it holds a subdued and subtle approach. I Need You is another ballad of sorts. Featuring some of those modern influences, the moody verse builds to a rock chorus, with a darker and heavier feel, while Hansen keeps his performance more restrained than elsewhere on the album. It makes for an interesting song and one that pushes the boundaries of traditional melodic rock. Overnight Sensation again starts slow and builds, but is essentially another slow to mid-tempo mood rocker. A catchy chorus, but a subtle one for sure. This is one of those tracks that needs to grow. Broken closes the album with another ballad. As is the theme with the rest of the album, there's nothing predictable about the song it's a mid-tempo ballad with smooth vocals and a punchy chorus.
Mind you, this hasn't been recorded on the cheap. Fabrizio is a much in demand session guy and producer. His work here is again immaculate. If the right songs are selected and it's put together with the same quality as has been done so far with Vertigo and Perfect World, then I don't see why this idea should continue. Perfect World is a great example of traditional melodic rock and AOR being brought into new territory with the help of some excellent production techniques and the adopting of some current pop and rock covers to a more melodic rock feel. A job well done and another highlight in the career of Kelly Hansen.
|
| Hardline Live At The Gods 2002 | Frontiers Records FRCD171 |
|
|
This is the third live release from the Gods 2002 show. The two previous releases - Harem Scarem and Jeff Scott Soto have both impressed, as the bands did on the night. Both albums were very enjoyable and an accurate representation of each band's performance on that night and as such, were eagerly snapped up by fans. I don't think any band put on a band show that day. The sound was fabulous, the energy electric and the crowd were on fire (for a Gods crowd!). Hardline were no different. Their line-up included 9 people on stage the now 6 piece band and 3 backing vocalists. The sound was full and frontman Johnny Gioeli was a total madman on stage, taking control of the crowd and ripping through the set. However this live release is not quite in the same league as the previous two Gods releases. The energy and sound of the band hasn't translated to this record. The obvious problem that I can hear with the release is the mix. It just simply isn't as good as the previous two releases and for that reason the performance loses impact. I imagine it must be a total nightmare to mix so many personnel on stage into something that sounds great on record. But it was done live on the night so it should be possible for the record. The main problem due to the mix is the vocals. Johnny of course sounds great, but his vocals and those of the backing vocalists are way up in the mix and the band especially the guitars in places - is somewhat drowned out. The backing vocals come and go, but are now more an annoyance than an added dimension as they were on the night. In the killer ballad Face The Night, the backing vocals are painful to listen to. Too bad, as it's a classic song and was delivered with a lot of passion by Johnny. In The Hands Of Time isn't much better. On a brighter note, the material from the band's classic debut holds up well and Josh Ramos gets his turn to shine like the rock God he is. One additional thing - the intro by DJ Pandora should have been edited out, as it adds nothing to the release and just reminds fans that were there, how every intro on the night was the same. Yes, all the band's were jetlagged we get the picture. The added bonus of 3 non-album tracks helps make the release more appealing and are a good conclusion to the album. Hypnotized is a Led Zeppelin-esque blues rocker that wouldn't be out of place in a Van Hagar live show; Only A Night (acoustic) is a wonderfully stripped back version of the classy ballad from the last album and Mercy is another bluesy retro track that is largely acoustic driven. Mercy and Hypnotized are interesting tracks, but you will see why they were not included as part of the last album's make up. Cool, but a little out of character for the name Hardline.
|
|
The Darkness Permission To Land |
Atlantic Records |
|
|
Where does one start with this then?! The Darkness is a band surrounded by double standards and contradictions. The music isn't overly original but it kicks ass. The melodies and hooks are first rate but the vocalist delivering them is frightful. The production is certainly not a big budget one yet the promotional push behind the band is huge. Welcome to the world of The Darkness. This UK band released 2 indie singles before being picked up by Atlantic worldwide for the release of this, their debut album. They have caused a stir everywhere they go, as like 90's pop counterparts Oasis, they know what buttons to push. Folks either love them or hate them, but to their credit, one listen and you'll never forget them. Now that is the single most important ingredient to their success so far. They have an image and an angle to play off and it's working a treat. My main argument with this band is this if they didn't have a kooky singer, would they be getting all the attention they are getting? Of course not but out of their success, some good might come for others .maybe If they had a different singer, or had vocalist Justin Hawkins refrain from those way over the top falsetto notes, they would be a better band in the eyes of the many I'm sure. But probably one without a record deal! That's the sad reality of music these days labels, management and media love and angle, and Justin's kooky vocals are a very definite angle to exploit. I suspect the band are quite aware of the way they would be perceived and were well aware of the best way to attract attention and are taking that all the way to the bank. What started off as a piss-take has blossomed into a genuine hit and there's no turning back for them now. And why would they want to? The guys will continue playing it up to the maximum, taking the piss and having a blast, while making a ton of cash along the way. So just what is the fuss about? Why is The Darkness being talked about with such passion? Take a listen one piece of advice, sample the tunes before you invest in the album. The music of the Darkness is something mainstream media have somewhat ignored and is certainly something not accustomed to being at the top of the charts. The band really know their stuff and have delivered 10 tracks of high energy, feel good 70's / 80's inspired hard rock, touching on influences ranging from AC/DC to the Rolling Stones and Queen. And when he's not going completely over the top, Justin's vocals and the pop edge of the music compare with 80's Brit-pop chart toppers The Cure. What makes the band "special" is singer Hawkins. His vocals appear normal for only a short while before disappearing into a range not tempted by many males, not to mention those falsetto acrobatics that even make Freddy Mercury look straight. Like a metalized version of The Cure's Robert Smith, the vocals are delivered with little regard for the path the musical base is taking. These vocals are all over the place and are the one reason the band is causing the fuss they are. Take them or leave them they are what drive this record. If you can adjust your ear drums, the benefits of some fine songs can be appreciated. The AC/DC styled opener doesn't do a lot for me, but the hooks of Get Your Hands Off My Woman are more attention grabbing. But it's also the most over the top vocal on the album no wonder it is the lead single. It's here that Justin's vocals are the hardest to take, which is a shame, as the song has a lot to offer. Following on though, Growing On Me is an absolute gem. Hawkins even manages to keep the vocal straight for the most part. It's the most accessible song of the album and one of the best pure rock anthems of the year. Seriously! I Believe in a Thing Called Love, Love Is Only A Feeling and Givin' Up are all equally infectious. Like a tumor, this album just keeps infesting itself in your head and won't let go. Great tunes really, but it's all about whether you "get" the vocals. Yes, he's a shocker, no doubt and taking the piss .but if you like the vocals, the album as a package will be impossible to resist. I love the fact some great, straight ahead rock n roll is getting played on radio and in clubs and I love the fact some Eddie Van Halen inspired guitar solos are included. When was the last time you heard a guitar solo on the radio? What I don't love is the fact there are better bands out there that will remain ignored and more than deserve the money and attention Atlantic is showing these guys. And I have a small hesitation in supporting a band that really is just laughing at us. But good luck to them I guess Let's be honest. If this had been released on one of the melodic indie labels, the band and the label would have been laughed out of town by now. But somehow, being on Atlantic Records gives the band instant credibility. The production is pretty raw, but the energy and attitude coming through the speakers is really quite addictive. But those vocals! Oh boy .
Will The Darkness prove everyone wrong? Will the general public tire of their style as quickly as they tire of mainstream pop acts? Will the band prove their musical credibility with a monster second album? Only time will tell. But right now, expect the band to be everywhere, expect the debate to continue long into the future and don't expect either side of the love them/hate them clubs to give an inch! They certainly are not the saviours of rock n roll - that is just absurd, but they do have people talking and they might just open a door or two for others and that is something I can appreciate. BTW - My score - 90% for the Music, 10% for the vocals!
|
| Colin Blades Colin Blades | Connoisseur Records |
|
|
It's taken several months for Connoisseur Records to bring this album to a release stage, but it's finally available now, if only via their website only at this point. Colin is of course the son of Night Ranger's Jack Blades and this is his much anticipated debut. And seriously folks this is a very fine debut. Colin is still a young bloke, but his musical maturity is far beyond his years. He has clearly learnt the craft of fine songwriting and has developed into a fine artist in his own right. His influences range from the obvious he sounds not unlike his dad and has a similar songwriting flair to the not so obvious. He clearly appreciates the classics, as several tracks on this debut have a strong Beatles feel, while others touch on the acoustic driven singer/songwriter style of such greats as Tom Petty, Jackson Browne and even The Rembrandts. Produced with the help of Jack and Matchbox Twenty producer Noel Golden, the album features some very strong songs that will appeal to fans of acoustic driven singer/songwriter style albums. Several tracks have the same vibe as the mainly acoustic Shaw/Blades album. Except in this case, Colin provides his own harmony vocals. Opening the album is one of the more uptempo numbers on the record. The happy go lucky pop rocker Been Too Long has a wonderful chorus hook and strong lead vocal, which highlights the warmth in Colin's voice as well as his range. All I Ever Ask is a strong acoustic ballad in the style of the Beatles. A definite Lennon/McCartney vibe here. Say Goodbye Again is another acoustic ballad, but this time in the style of the Shaw/Blades record and a definite match to Jack's softer vocal style. Far Far Away rocks a little harder this one features a dual electric and acoustic base, with a more urgent vocal and another strong chorus. White Holiday is the album's lead single and no surprise why. This is an acoustic pop song that showcases a very mature songwriting style that could find itself on adult contemporary radio anywhere in the world right now. Elsewhere on the album, the brilliant haunting ballad Million Miles is wonderful. A soft vocal is mesmerizing, while the string accompaniment is ideal. Are You With Me Or Not brings the tempo to the forefront again with a great uptempo number, My Own Life is an lyrically brilliant and intelligent pop song and Norah is another perfect Beatles pop song with Danny Wilde style vocals.
|
|
Pride Of Lions Sound Of Home (Single) |
Frontiers Records FRCD168 |
|
|
Jim Peterik signals his return to his AOR roots with Pride Of Lions a new melodic project built around Jim and newcomer vocalist Toby Hitchcock. This single sets up the release of the highly anticipated debut album perfectly, featuring the album's biggest anthem alongside two additional non-album tracks. Also included is a video for the lead track, which is just a sensational move. I hope we see more of this. As the song and the music goes, well hold on to your hats folks, as Pride Of Lions is easily Jim's best work since the Survivor glory days. A review of the album will follow early next week. Sound Of Home is currently vying with Harem Scarem's Waited for song of the year. You just don't get any better than this. This fired up melodic rock anthem features a wonderfully melodic verse (featuring Jim Peterik's vocals) before disappearing into the stratosphere with a chorus from heaven. New boy Toby plants his mark on this track with a monster vocal that recalls the best of Jimi Jamison and Bobby Kimball not to mention a little Joe Vana (Mecca). The bonus tracks aren't as high energy, but they are just as classy. So Deadly is a soft and reflective ballad featuring both Jim and Toby at the mike. The song features a classic 80's Survivor style chorus. Stand By You is more fired up, with a distinct Toto/Styx style progressive beat and another strong anthemic chorus.
|
|
Alice Cooper The Eyes Of Alice Cooper |
Spitfire Records |
|
|
Alice is back with his third album in quick succession for Spitfire Records. But unlike Brutal Planet and Dragon Town, The Eyes Of... features a more stripped back and under-produced Alice Cooper. The album was recorded relatively live in the studio, with few overdubs, giving the album that very raw, stripped back sound. It's quite rough around the edges, which is in direct opposition to the intense and complex musical approach of the last couple of albums. This is the stadium rocker Alice, paying homage to his 70's and 80's roots, albeit with a slightly more modern style. This is not a classic album, but it's far from being ordinary. In fact, it's very good indeed and up to Alice's usual high standard. Lyrically Alice is still on song, not taking himself too seriously and taking jabs at himself and society. Sound wise it's varied. What Do You Want From Me is tough and rocking in style, while Man Of The Year has a punkish quality to it. The single Novocaine is a mid-tempo commercial melodic rocker with a good chorus hook, as does the breezy Love Should Never Feel Like This. The mid-tempo rocker Bye Bye Baby employs a bit of brass, Aerosmith style. As usual there are a couple of curve balls included in the package. Be With You Awhile is melancholy ballad, the soft and spooky This House Is Haunted is rather quirky to say the least and The Song That Didn't Rhyme is a popish ballad (of sorts). Then Backyard Brawl is almost modern/alternative. Alice is the master of variety and delivering killer performances. And that's the case here too.
Cooper fans will have no trouble embracing the songs featured here. Casual fans will have favourites, but could dislike others. It's nice to hear Alice drop it back a notch from the brutal intensity of recent records and offer something for the fans of straight hard rock that still has a contemporary sound.
|
|
Midnite Club Running Out Of Lies |
Escape Music ESM092 |
|
|
Midnite Club is a revitalized version of the band Mr. Hate, which ceased to exist after record label USG folded in the late 90's. The driving force behind the band is singer Carsten Schulz and guitarist Stephen Seger both originally from Mr. Hate. The band to me sounds like a heavier or hard rock version of AOR favourites Frontline. No surprise then that Frontline/Evidence One guitarist Robby Boebel is a gust on this album. This is one of the better examples of German hard rock currently in the market place. A few other examples are also featured in new reviews. The main reason the guys stand out from the crowd is the songs. Strong hooks and memorable choruses help the songs stick. But the downside is that it isn't anything we haven't heard before and is another variation of Frontline, Domain and Evidence One. It rocks harder than Frontline, but doesn't have the firepower of Evidence One. Rather it fits in-between, much in the style of Jaded Heart. The inclusion of a cover of Duran Duran's classic Wild Boys doesn't do it me as much as it should have, but it's a rocked up version for sure. It's actually the mellow track Ticket To Silence that impresses me the most. Great melodic track. If you like the aforementioned bands, then Midnite Club has something to offer you.
It contains better songs than a couple of comparable current albums, but doesn't reach the highs of previous releases from the personnel involved. Solid German melodic rock.
|
| Petra Jeckyl And Hyde | In Pop |
|
|
A revitalized Petra, featuring vocalist John Schlitt and with guitarist Bob Hartman back in the fold has come out rocking on their new album. Kicking off with the title track Jekyll And Hyde, the momentum is clearly with the band as they rock harder than they have in years. Schlitt sounds in fine form, as does the whole band. The sound of the album is crisp and evenly mixed, with vocals and guitars both way up in the mix! The album is really in your face. The band's history is long and detailed and it's remarkable they are still together, not to mention firing up so well after all these years. The lyrical message is no different to that of any previous Petra album strong Christian messages. But the fire in the band's belly came as a surprise. The opening track is the definite highlight for me, but also appealing is Would'a, Should'a, Could'a, which features a snappy beat; Perfect World, which is nice and heavy, but contains a good vocal hook and the very catchy heavy beat of Test Of Time. Only on track 9 - 'Till Everything I Do do the guys slow down. This acoustic driven pop ballad is a nice change of pace and features a strong melody.
My only issue 10 tracks running only 31 minutes. I hate padding, but this album could have used with a track or two more.
|
| Triumph Live At The US Festival | TML Entertainment TML79201 |
|
|
It's amazing to hear how strong this live recording still sounds some 20 years on. Triumph's classic material has always held its own and this short Best Of set is testament to that. The performance on the day was rather special and thankfully it was captured by the powers that be. Countless bootlegs exist of various performances on the day, but it's taken until now for a CD to be officially released by anyone! This release was possible thanks to the band's active members Mike Levine and Gil Moore remixing the original master tapes. They have done a great job the recording here is crisp and clean and beautifully balanced between capturing the energy of the band and some of atmosphere from the 500,000 strong crowd present that day. Far from being dated, this sounds fresh and vibrant and will come as a great addition to the collections of all Triumph fans. The band runs through the tracks featured much as expected, with a long guitar solo and some additional adlibbing adding to the running time.
|
| Victory Instinct | SPV |
|
|
Classic German heavy rockers Victory are back! Or are they? Who knows really. SPV describes the return of original vocalist Charlie Huhn's to the band's line-up as only a "guest appearance". What the future will bring is anyone's guess, but Charlie puts his stamp firmly and squarely all over this record. Instinct finds the band in fine form, rocking harder than ever. This is classic German heavy rock / melodic metal, performed as if the last 15 years never happened. Yes, it's been 15 years since Huhn last took his place with the band. The band featuring Huhn alongside guitarists Tommy Newton and Herman Frank, bassist Peter Knorn and drummer Fritz Randow sounds as good as ever and thanks to a fine production have delivered a collection of songs most fans would have to be happy with. If you haven't previously been a Victory fan, or perhaps haven't even heard of them, this is worth checking out. Huhn's dark, strong and somewhat bluesy vocals suit the straight ahead German hard rock of the band's style.
Huhn retains his role in the US as the current lead singer for Foghat (since 2000), but will play some select dates with Victory in support of this release. One hopes he enjoys it so much a follow-up will be planned. Based on this, it's something the fans will certainly look forward to.
|
|
Zon Astral Projector / Back Down To Earth |
Escape Music ESM091 |
|
|
Flared pants and afro's on white boys were the order of the day at the time these two classic albums could be found on LP store shelves. Originally released in 1978 and 1979, these two Canadian 70's pomp albums have found their way to CD thanks to the good folk at Escape Music. And just as they did with FM and Sugarcreek, a digipak CD package has been put together, housing both albums and a booklet with lyrics, credits and some nice liner notes. A tidy little package for sure. Musically Zon were as pomp as they come, comparing to fellow Canadian's Prism and the better known Styx! The sound here is fantastic the re-mastering is first rate and the albums both sound fresh and vibrant. I am the first to admit that 70's pomp isn't my area of expertise and never will be. I'm an 80's kid at heart. But there's no denying the quality of the songwriting and music on offer here.
|
|
Michael Riesenbeck Shouting Silence |
Indie |
|
|
Michael's debut album is being released independently after it was also financed by himself. Good job! Michael's name might be familiar to some already from his work on the Toto tribute album Fanfields another self-financed indie release. This debut album is straight out of 80's territory, with an equal mix of guitars and keyboards over light and pleasant musical accompaniment. The style of the album is European 80's AOR and reminds me of many of the albums that were being released independently in the mid-90's. Guitarist, producer and drummer Michael uses various singers on the album, but holds the consistency together with some strong songs. Included in the line up of singers is Phil Vincent (on the very Toto-ish Hold On Me and the Winger-ish Telling Lies), Ed James (Better Days), Tony O'Hora (Praying Mantis)(on the very anthemic Dreams For Tomorrow, [which also features Jeff Pilson on bass] and Two Hearts). Urban Tale vocalist Kimmo Blom is featured alongside Bryan Wooley on the uptempo melodic rocker Call To Glory. The verse is ok, but the chorus (featuring Blom) is very strong and an album highlight. Toto's Giant Journey is an instrumental track paying tribute to three of the biggest bands of the genre. There is a lot going on within each song. It takes multiple listens to get to know the tracks and absorb everything, especially with the big anthem of the album, Dreams For Tomorrow.
|
| Silver Intruder | Point Music |
|
|
The great charm of Silver's first two albums was the left of center approach of the band. Andreas Bruhn of Sisters Of Mercy was the driving force behind the band's quirkiness. Andreas doesn't appear to be a musical contributor this time around, rather only committing to some songwriting. That must be the difference between the band's first two records and this one. Regardless of circumstance, this album just sounds more straight forward and less original than before. Featured on the this album is the large line up of Gary Barden (Lead Vocals; ex-MSG, Statetrooper, Praying Mantis), Bernie Torme (Guitars; ex-Gillan, Ozzy Osbourne, Desperado), Don Airey (Keyboards; Deep Purple, ex-Ozzy Osbourne, Whitesnake, Gary Moore), Bertram Engel (Drums; Peter Maffay, Bruce Springsteen, Robert Palmer), Bob Daisley (Bass, Ozzy Osbourne, Rainbow, Gary Moore), Colin Hodgkinson (Bass; Schon + Hammer, Whitesnake), Michael Voss (Guitars; Demon Drive, Casanova, Mad Max, ex-Bonfire), Marco Minnemann (Drums; Paul Gilbert, ex- H-Blockx) and Tommy Denander (Guitars; Radioactive, AOR, Prisoner). An extraordinary line up of talent, but I still found the album to be a standard slice of European hard rock and overall a little flat. There are a few good tunes Drowning is a good rock ballad, the epic How Does It Feel has a nice moody feel, Kismet is a lighter pop moment and I Don't Love You Anymore has a good riff and harder edge.
|
| Domain The Sixth Dimension | Point Music |
|
|
The new Domain album sees the band continue of the path set by its predecessor The Artefact, released last year. This album is even heavier though really pumping through the tunes in mostly uptempo hard rock fashion, with only the one ballad in play the enjoyable One Perfect Moment. Kings Tears is an uptempo pompous tribute to the band's earlier days, while the majority of the remaining tracks are in your face German flavored hard rock. Vocalist Carsten Schulz is a busy man these days, with vocal duties also being performed for Midnite Club and Evidence One. He has an ideal voice for the material, which moves between melodic metal and Axel Rudi Pell style pomp/progressive metal. I am not sure the band will break any new ground sales wise with this album. There is so much great quality European hard rock around these days and I fear this won't stand out enough to those not already converted to the band.
|
| Seven Ten Love And War | Metal Mayhem Music MM00042 |
|
|
Seven Ten's debut album has been sometime in the making and to the relief of the band has finally been released just recently by Metal Mayhem. The band have that traditional American 80's stadium hard rock style, that bands like Quiet Riot, Steelheart and Motley Crue were famous for. This is going to appeal to old school fans who like it loud and a little over the top. The strength of the band is their knack to come up with a good chorus hook and a strong guitar riff. Just as Talon's debut album took us back to the glory days of LA hard rock, so does Seven Ten. In Live For The Day the songs slows mid-track for a spoken word story to remind me of the sleaze rock attitude of the 80's. Cross My Heart is the album's big ballad and is very much in the Steelheart vein. Love In A Bottle is very Quiet Riot, especially with the vocal delivery. Tied Up In Love has a great vocal hook and some nice harmonies. The band's only weakness is the production quality. That's the only small problem this album has, otherwise it's a very good debut. It could have used a little extra production punch especially with the rhythm section and the mix in general just to give the songs showcases their best chance to appeal to fans, as they deserve that.
|
| Phil Vincent Secrets | Nightmare Records |
|
|
Phil tirelessly works at his craft continuously, releasing an album a year without fail and also keeping his thumb in various other projects. He's a prolific writer and once again has filled this album to the brim with 16 tracks. Secrets sees Phil continue to toughen up the sound, making this a guitar dominated record. Phil's style is unique atmospheric, 80's, AOR and melodic hard rock mixed with Kip Winger's vocal style. Those vocals sound as fresh as they ever have here, with a particularly melodic selection of songs on offer. Good to see there is more variety in the songs, which was a slight issue on his earlier work. There are some stronger riffs and chorus hooks here which help define each song. There isn't much difference between this and the last couple of albums, so fans won't get any rude shocks. The guitar work is fabulous of course, and the production is solid, although could always use a little extra punch. Check out the opening three tracks for some enjoyable vocals and melodic rock hooks. BTW - I couldn't determine a running time due to the inclusion of 80 odd 4 second tracks added to place a barrier between the album itself and a hidden bonus track. The CD features 99 tracks. Maybe there could have been a better way to "hide" the track?
|
|
Various Artists A Tribute To Enuff Z Nuff |
CD Smash |
|
|
I must admit that I'm not a Enuff Z Nuff fan, although their last album really impressed. So the prospect of reviewing a Enuff Tribute album wasn't overly appealing. But for all involved on this some credit is well deserved. This sounds pretty good and as far as these ears can tell, pays good homage to the band's legacy. The production is generally very good and even throughout, although a couple of songs don't stack up against the others. Most at fault there would be The Rioteers version of Your Heart's No Good and the closing track sung by Donnie Vie. Yep, the worst track of the compilation is sung by one of the actual band members. Dare I say it was an unreleased track for a good reason? Featured on the CD is; New Thing-dim, Fly High Michelle - The Millions, Baby Loves You - Best Of Seven/guest vocals by Donnie Vie, Someday - Shawn Mars, There Goes My Heart - Crash Kelly, Heaven Or Hell - R50, Aint It Funny - Barely Pink, For Now Receiver, I Could Never Be Without You - Willie Hines, Dad By Day - WWJLD? (members of New Machine & Mystery Bloom), Blue Island - Jim Crean/Phil Naro . One Step Closer - Zion James, Your Hearts No Good - The Rioteers, Freak - Seven Wishes, Long Way To Go - Frankenstein 3000, Bonus Track - She Forgets - Donnie Vie (Unreleased). Style wise there's everything from breezy pop to modern hard rock. More proof of the band's clear ability to vary their sound and mix things up.
|
| Vertigo Vertigo | Frontiers Records FRCD 167 |
|
|
Vertigo is the new vehicle for former Toto vocalist Joseph Williams which sees him returning to melodic rock duties after a far too long gap between this and his last solo album some 6 years ago. Joseph has been off earning (a far more lucrative) living working in LA on film and TV soundtracks, but was convinced by Frontiers to take part in a new album with a tougher and heavier rock edge. Joining Williams in Vertigo is famed and much sort after LA based producer Fabrizio V.Zee Grossi (who also plays bass, rhythm guitars, keyboards and adds the album's sampling, programming and loops), former Dokken guitarist and solo performer Alex De Rosso, Biggs Brice (drums) and JM Scattolin (additional guitars). Rounding out the line up is Francis Benitez, who provides backing vocals. Vertigo is heavier than any other album Williams has sung on before. It's guitar driven melodic hard rock and sees the singer really put through his paces. It's such a welcomed change from his very Westcoast AOR solo albums and is easily his best work outside the Toto albums Seventh One and Fahrenheit. In fact, I rank this album number 2 behind The Seventh One. Vertigo really rocks. Thanks to a very tight and contemporary production sound from Grossi and some inspired lead guitar from De Rosso, the album packs a powerful punch and ranks as one of the year's best pure melodic rock releases and one of the best from the Frontiers label. The added production effects, teamed with Williams' traditional AOR style vocals, means this album has a classic feel to appeal to all traditional melodic rock fans, but with an updated sound. Several guest songwriters are involved, but at the crux of several of the album's songs is Williams long time partner Joey Carbone. Track By Track: The opening track sets the tone of the album, with a direct, guitar driven approach that's both tougher and heavier than Williams work alongside Steve Lukather. Interestingly, the best song doesn't open the album, but Not Enough Hours In The Night is still right up there. The song is penned by Jim Peterik/Matt Thornton and features a chorus that evolves with repeated listens. Initial playback might disappoint, but it's a song that develops into an album favourite and suits Joseph's voice to a tee. Straight To Your Heart is possibly the album's best track, with a pure melodic rock approach, updated due to some progressive production effects. Written by Carbone, the song features a catchy verse and an instantly memorable chorus which takes the song up a notch or two and sees Williams really delivering his vocals with some gusto. His voice sounds a little gruff in places, but I love the conviction of his delivery and the overall power of the song. More Than Enough is a mid-tempo rock ballad that features more fine lead guitar by De Rosso. This is a moody and powerful rock ballad, with some seriously good guitar playing throughout and as the song progresses, an increasingly tough sounding Williams. Never Let You Go is a first rate uptempo rocker. Written by Stuart Smith, the song bounds along beautifully with a real feel good vibe. I love the use of vocal effects for the song's bridge, before a huge AOR chorus bursts through, with female backing vocals adding extra texture. I Don't Want To Go is one of the album's big ballads and is perfect for Joseph Williams. Featuring a big chorus and big hook, the song should rate as a fan favourite, fitting the style of Williams solo albums perfectly if not just that little bit heavier. I Want To Be Wanted is a cover of the classic Dan Lucas track. While Lucas' version is near perfect, this version gives it a run for its money. With an updated production and a very Steve Lukather feel to it. This version is a little heavier; with Williams really getting stuck into the song the longer it goes. China Sky is a more laid back track and closest in style to his solo albums, with a more bubbly pop/AOR feel to it. A catchy chorus is the song's best asset. Love Is Blind is another different track. Dominated by a strong guitar riff, the album features a darker vibe and a chorus that isn't instantly likable, but grows with repeated listens. When It Doesn't Matter is a pure pop track, with an easy going vibe and a chorus that comes and goes quickly. Sarah is a cover of a Paul Alan song from the Christian singer's debut album Falling Awake released last year. This is another more pop styled track that Williams makes his own with a strong vocal performance. It's an ok track, but not an album highlight. Vertigo is an interesting track. Not everyone's going to like this, but I think it's cool. The song is written by David Tyson and is the toughest vocal track of the album, while also being the moodiest and least traditional as far as structure, No big chorus here, just a strong and heavy slow to mid tempo rock track. More Than Enough is an acoustic remix that's exclusive for Europe. The track is varied nicely here and slightly extended. A soft, but moody version that ends the album quite well and is a nice contrast to the intensity of the title track.
While comparisons due to Williams' vocals can be made, one of the best things about this album is that it isn't a cash in on his former glory with Toto. This is his own project and I suspect a welcomed one for fans of solid melodic hard rock fans that just love a good melody, a strong singer and some hard edged guitar tracks.
|
| Shugaazer Shugaazer | Atenzia Records |
|
|
Shugaazer's debut album is aptly titled, as it represents a shift in direction for frontman Paul Laine. Laine has recorded just the one official solo album - with a second demos collection also available plus four albums spread over a number of years now with Danger Danger. He is constantly writing and recording and in recent times spent a lot of time working on a new outlet for his music. Shugaazer is that outlet a four piece based out of Laine's native Vancouver. This is a band that sees Laine shift his focus to a more modern direction and at the same time changing to a more pop orientated sound. The songs of Shift are quite diverse and should find wide appeal. In some instances the tracks lean towards alternative pop - which is where a new audience could be found, while at other times the style isn't too far removed from that which he brought to Danger Danger especially on their last album Return Of The Great Gildersleeves. Above everything else, the songs on Shift are superbly crafted, intricately laced with melody and cleverly updated into a modern direction, without too much alienation of his more traditional roots. The album is dominated by vocal melodies and song hooks rather than an obvious focus on choruses. A few songs do have that killer chorus, but the majority rely on changes in the song structure, with bridges, cleaver intros and production effects in play. Track By Track: Opening track Kozmonaut sends a clear message this is a new direction and sound for Paul Laine and band. But the voice is unmistakable and the style and class is still in tact. Surrounded by production effects and a modern pop rock base, the soft rocker kicks into high gear come chorus time into a more familiar style for Laine fans. Thankfully the chorus has a monster hook and a refreshing vibe. When You Gonna Break My Heart is an interesting track to have in the number 2 spot. The song is a mid-tempo pop ballad. A strong guitar lead through the chorus lifts the song up a notch. The verse contains some strong vocal melodies and the chorus features a pleasant hook, but I'm still not sure I like this track in the position it's in maybe just a little laid back for track two. Song 4 Lennon is the album's first absolute classic. I love this track. It's very slow to start, with a long building intro, but the vocal hooks come into play almost straight away and the musical style is very close to the last Danger Danger album, albeit with a lot of modern production effects. The song itself is a fairly laid back rock ballad, but the chorus cranks the song up at least 2 notches. Stepped Into My Universe is a mid to uptempo feel good pop rocker, with a more prominent guitar riff and another strong pop hook. One of the album's more modern tracks, but one with a simple, but instantly infective chorus that sucks you in first listen. Could the next track - Something Worth Waiting For be song of the year 2003? It's certainly in the running and remains one of the best tracks I have ever heard Paul Laine sing. The song has a moody pop intro, which leads us through a slow tempo chorus that seems to build in intensity and come chorus time explodes into a mega ballad. I love the haunting quality and strength in Laine's vocals, which really soar on this track and are backed by a strong guitar riff. Just awesome. Beautiful follows on perfectly it's the album's heaviest track and features a sound very close to that of Danger Danger. The production is again filled with tweaks and effects, but the guitar and strong lead vocal drive this track. Another killer chorus is supported by some of the best lyrics of the year. All about how the famous and beautiful people live, the song is filled with biting and socially satirical messages. Another classic! Here Without You is far more laid back, moving back into softer territory for this modern pop track. It's another one of the more alternative tracks, but still features another strong chorus. California is another enjoyable track and another album highlight. Featuring a more guitar driven approach, the song is still only mid-tempo, but is another great outlet for Laine's vocal talents. Get The Hell Outta My House isn't one of my preferred tracks. This one is another modern/alternative pop track with a little time needed before the melodies become more familiar and likeable. Enough however, ends the album on a major high note. Building from a fade-in intro to a simple rock verse, the intensity again builds before the guitar kicks in and a big vocal hook that introduces the chorus and another layer of rocking guitar. This is another track that wouldn't sound out of place on a Danger Danger album and ends the album on a rocking note.
This album isn't going to be a winner with all current and past fans of Danger Danger. Dedicated Paul Laine fans will find it far easier to get used to, and elsewhere, a new range of fans might find themselves falling for the charm of this great vocalist. Traditionalists might find it a bit too modern, but this is 2003 and this is a perfect record for today. It certainly features a more updated and modern rock approach, but the songs themselves are all built around the all important melody, so I expect many to really enjoy this album.
|
| milesABOVE Further | Escape Music ESM-092 |
|
|
milesABOVE are a Canadian outfit that is here to impress with their debut album. The bands style is very much a mixture of modern pop/rock, with a main comparison to the sweet pop harmonies delivered by BBMak and even Nelson. Above everything, the albums songs are very well written, rather catchy indeed and perfectly assembled to create a wonderful debut album. Expertly assembled by producer Corey Macfadyen (Brighton Rock), the albums flows beautifully, from the opening rocker thru it's pop heart and concluding with a great acoustic ballad. That opening track Further, features the best of both worlds a punchy guitar driven verse, then a melodic bridge to a chorus of pure pop bliss. In between that is a verse filled with some fine vocal melodies and a cool mix of electric ad acoustic guitars. Persuade Me features a funky bass rhythm that has an 80's vibe to it and the song's chorus is layered with backing vocals and production effects. Me & You and Baby's So Good are great melodic pop tracks, both with traces of BBMak style harmonies and feel good lyrics. Please Don't Wake Me is pure modern pop with a strong guitar riff. When You Hold My Hand is an album highlight. It's another breezy BBMak style acoustic driven pop song with a great melodic chorus and strong vocal hook. Every Moment is another strong track with a more laid back and moody vibe. Running Away is a uptempo pop rocker with another great hook and strong guitar riff that makes it another album highlight. St. Mark's Square closes the album with a moody ballad that features sparse musical accompaniment.
These Canadians have placed themselves on the map with this release and should easily find a fan base to look forward to future releases. The key to the album - apart from the fine and sometimes adventurous production thanks to Corey Macfadyen is the infectious melodies and fine harmonies. Not a dud track amongst the lot of them.
|
| Deep Purple Bananas | EMI |
|
|
Deep Purple is back but does anyone care anymore? Well, yes and no. It depends on your outlook. The band's releases still generate good publicity and their fair share of debate, while it's clear the glory days are gone, this new album proves there is still a little life left in the beast. The oddly titled Bananas is the band's third studio album with guitarist Steve Morse. The band's debut with him Perpendicular remains one of my favourite ever Purple albums and is highly regarded by just about everyone. But the follow up Abandon really didn't move me and the gloss was removed from this incarnation of Purple, for which I was previously so impressed with. Bananas is a far better and more enjoyable record, but maybe not quite good enough to return the band to the lofty status I had previously awarded them and I fear that might be the same feeling elsewhere. Gillian sounds in fine form, as does the rest of the band with new organ/keys man Don Airey in place and the production is worthy. So the only spot for any let down are the songs. The good thing is that there is nothing bad on the album, just a few tracks that don't inspire as they should and could be labeled predictable. Highlights for me include the mid-tempo ballad Haunted, with female backing vocals accompanying the band; the darker and bluesier rock track Sun Goes Down; the organ drenched hard blues of Silver Tongue; the laid back 70's rock of Walk On; the Perpendicular styled Picture Of Innocence and the utterly wonderful (mostly instrumental) Never A Word. Elsewhere on the album House Of Pain is a fairly predictable opening track; Razzel Dazzle is a bit lame; I've Got Your Number misses a memorable hook and Doing It Tonight doesn't really go anywhere and the last track 90 seconds worth - isn't really needed.
Not classic and still not close to Perpendicular, but not bad at the same time.
|
|
Dreamtide Dreams For The Daring |
Frontiers Records FRCD 169 |
|
|
Dreamtide was formed out of the demise of popular German melodic hard rockers Fair Warning.
The band's debut album was generally well received, but did receive its share of criticism for straying too far from the popular pomp-hard rock formula of Fair Warning. Given that Fair Warning's singer has changed course to a more straight ahead rock format, much pressure is on Dreamtide to please fans. On Dreams For The Daring the guys have concentrated on doing just that. The songs featured on this album are far more consistent and much closer to the style of Fair Warning. There is a certain over the top pompousness to the songs, with guitars, vocals and rhythms going in every direction possible. Vocalist Olaf Senkbeil does a wonderful job, giving a strong performance on both lead and backing vocals. Tracks like the heavy opening track Dream Real and the over the top Live And Let Live are nothing short of sensational. In the case of the latter, there are layers of guitars, powerhouse vocals and massive hooks none bigger than the chorus. I'll Be Moving On has a darker and moodier approach, but features another great melodic chorus. All Of My Dreams features an acoustic guitar base, but another big and powerful chorus. I'm Not With You has a progressive edge to it and more powerful and multi-layered guitar riffs. And so it continues through the remaining 12 tracks. Interestingly, the band has included 3 re-mixes of tracks from the album which have been given a major facelift, turning them into modern rockers, with loops, samples and the like. They are an interesting listen, but the fans buying the album will prefer to stick to the originals. The one problem which mars the album is the production. It's just not up to 2003 standards and does take away from the overall enjoyment of the album. It's just far too muddy and some of the impact of the songs is lost because of it. With so much going on within each song, the need to get the mix perfect is essential and it just hasn't happened here and the overall guitar tone is very muddy in places.
But on a brighter note, the songs are a real return to the glorious over-the-top pomp style of the band's predecessor Fair Warning.
|
| Iron Maiden Dance Of Death | EMI/Sony |
|
|
I quite like the new Iron Maiden. It's not a classic, but how does a band with such a long and rich history actually better albums that have been long entrenched in the psyche of a whole generation of British metal fans. Well, they don't, but the main point here is that the band hasn't embarrassed themselves and have recorded a solid album that follows on from their last studio album, the Dickinson comeback vehicle Brave New World. No great changes are in place for Dance Of Death the album contains a few short and snappy rockers that could be potential singles, then there's 5 seven minute plus epics for the die-hard fans to dissect and the remaining tracks all run between 5 and 6 minutes, allowing plenty of time for solo's and extended musical interludes to be featured around Bruce Dickinson's distinct vocals. Of course, not all Iron Maiden fans are going to be sold on this. It's different enough to cause some division between those that love the glory days and can't adjust to this or simply just don't like the set of songs chosen for this occasion. The one problem I do have is the production quality. The album really sounds muddy and at times the mix is quite bad. The band has three guitarists at work, but I am having a heard time hearing them and the rhythm section just isn't as punchy as it should be or is in reality. The album should have sounded a lot cleaner and a lot clearer than it does and producer Kevin Shirley hasn't come close to his finest work with Dream Theater and Journey. There are some songs I think are very strong and worthy of any Maiden album, but the overall sound is a disappointment. Highlights for me include the very simple and melodic Rainmaker (the next single?), the fast-tempo'd Montsegar, the riff filled New Frontier and my favourite epic and the longest track of the album the 8 and a half minute Paschendale.
Maybe it's as the band wanted, but to the listener, there's a bit to be desired. Clearer guitar parts would be the best place to start if a fix was possible.
|
| Vertical Horizon Go | RCA |
|
|
Vertical Horizon, along with the band's fans, were forced to endure a 12 month long wait for the release of their highly anticipated forth studio album Go, thanks to their record label undergoing personnel changes and a reshuffle. The upshot of that means that if this album is not successful, the band might find themselves looking for a new label next time around. That's the unfortunate way these labels tend to operate. Commercial success is never assured, as the music world is a puzzling thing. But the band has not let their fans down and have done their part to ensure success, with a collection of songs that betters the breakthrough Everything You Want album and sees the band tightening up their sound, while remaining as commercially friendly as ever. What's most to like about Go is the lush production. The songs are all layered in rich harmonies and multiple layers of instrumental backing, with the guitars really playing a major role in the direction of the album. Go may be guitar driven, but it's not heavy. It's very commercial filled to the brim with radio friendly modern rock tracks. When You Cry is a strong heavier rock track to open, but the lush I'm Still Here is as radio friendly as you could get and features a great chorus. Forever is a memorable rock ballad while Sunshine is a true heavy rocker. Goodbye Again is another mid-tempo ballad with a rich texture and several layers. There aren't any weak tracks here. I rarely listen to their last album, but this album is so much better in every department. It's not as heavy, but is far more consistent and very well produced.
At the base of this feat is a collection of very likable and well written songs that are filled with harmonies, multiple layers and choruses that would suit most melodic rock acts. Certainly they are of the more memorable variety that modern rock acts normally lack.
|
| AOR Dreaming Of LA | AOR Heaven |
|
|
Frederik Slama and his team of hotshot LA session guys have been reliably releasing an album a year since 2000. This is their forth and is no great departure from the other three which will come as no surprise and some relief to fans of the previous albums. Again we have the highest quality sessions guys at work Tommy Denander, David Diggs, Steve Lukather, Michael Landau, Bruce Gaitsch, Pat Thern, Vinnie Colaiuta and more. And on vocals we have Bill Champlin, Steve Overland, Chris Demming, David Roberts, Dane Donohue, Rick Riso, Rachel Diggs, Michael Kisur and David Chamberlin. AOR's focus is Westcoast a more laid back pop version of AOR music. This is the absolute definition of Adult Contemporary, with touches of smooth jazz, pop and blues all driven by sweet Chicago style harmonies and pop sensibilities. The last album shifted slightly to a more traditional AOR direction, as does the opening track on Dreaming Of LA (Sung by Steve Overland). But for the majority of the rest of the album, it's back to the pure Westcoast of the outfit's previous records. Quality wise the songs, sound and production got better with every release, with the last album the best quality yet. Dreaming Of LA thankfully continues the high quality presentation set by the last album.
But for those Westcoast music buffs and for fans of those involved, you won't find a better sounding selection of soft jazzy pop songs than what's on offer here.
|
| Nick Barker Backyard Six | Croxton Records CROXT017 |
|
|
Nick Barker has always been a favourite of mine this Aussie rocker is the very definition of acoustic driven Aussie pub rock. Through his years as a solo artist and his time with Nick Barker & The Reptiles, scarcely a bad record has ever been released. Backyard Six is no exception, but if you haven't been charmed by this stripped back bluesy rock singer yet, this won't convince you now. Barker runs through a mixture of acoustic vocal tunes and full band numbers with stories of life past and present, with a couple of new twists a piano ballad for example. It's all a little too laid back for most, but it has it's charms. Barker certainly remains an underrated artist and songwriter and is sadly a sales underachiver due to be being ignored by mainstream press.
|
| Jani Lane Back Down To One | Z Records |
|
|
Jani Lane's debut solo album has been available independently in the US as an 8 track release. Now it's out in Europe as a better 11 track length. Lane has decided to move in a different direction than the style of his main gig in Warrant. That's what solo albums are for right? So Back Down To One sees Lane modernizing his sound with an album of uptempo rockers that features elements of modern rock, nu-breed styled punk rock delivery and a few bits of Warrant for good measure. Vocally I have heard better Lane's voice is certainly not the album's strength. Lyrically it's pretty funny some interesting relationship tales in there and a few biting comments. Funny is a great nu-breed style track, while Better Than You is commercial modern rock in the vein of the likes of Third Eye Blind. The title track suffers from such a horrible, repetitive drum sound I can't listen to it at all. Nothing is another modern rocker with a good hook, but is closer to a Goo Goo Dolls style than Warrant.
For that reason it could have sounded better, as it is pretty raw, but on a more positive note, the live/fun vibe of the album is retained. Whether fans want to hear Lane in this way will be determined by sales it is certainly a departure from the stadium hard rock of Warrant. It's a catchy enough album, but the style and the quality won't be for all Warrant fans.
|
| Firehouse Prime Time | Pony Canyon / Firehouse Music |
|
|
Firehouse promised to deliver a good melodic rock record, but they have gone one better this is a great melodic rock record. And it certainly does rock! Prime Time is the follow up to O2 an album that had promise, but was too varied in delivery and quality to be rated a great album. The problems of O2 seem to have been corrected here, as Prime Time features a much stronger production and stronger songs - which are closer to the bands first two albums. There's a certain urgency to the music and a return to the hard-edged guitar style that sees the band rocking like they used to and like the fans hoped they would. Interestingly, lead vocalist CJ Snare is relieved of his duties on 3 tracks. Drummer Michael Foster takes lead on Door To Door and guitarist Bill Leverty takes lead on two tracks Holding On and I'm The One. All three songs match the vibe of the rest of the tracks and don't alter the course of the album, but it was curious to hear other voices up front when such a fine rock singer in CJ was available. Regardless, the 10 songs of Prime Time rock along beautifully and it's only with the closing track do the band take a breath. Track By Track: The title track Prime Time is a mid-tempo melodic rocker with a bluesy Aerosmith swagger, catchy hook and solid guitar riff that will please fans and gets the album off to a solid start. The tougher, harder edged Crash rocks up next and really sets the album on it's way. I love the riff and think fans will rate the track as an album highlight. The track has a real AC/DC classic rock feel and the rougher edge to CJ's vocal is most enjoyable. Door To Door is drummer Michael Foster's vocal debut. I guess it's somewhat strange to risk breaking the flow of the album so early in the piece, but the track doesn't sound out of place and Foster's vocals rougher and gruffer to CJ's don't sound too far out of place. The track is another tough uptempo rocker with a real stomping rhythm and short, but catchy chorus. Perfect Lie is more of the classic Firehouse hard rock style fans of the debut will be most familiar with. CJ's higher pitched vocals are a perfect balance to the song's dark vibe and hard edge. A great mid to up-tempo rocker that is another album highlight. Holding On sees Bill Leverty at the mike. Bill's vocals are the roughest of the three voices featured on Prime Time, but they still have their place. The song itself is a moody hard blues rock track with another catchy chorus. Body Language is the typically commercial Firehouse. The song is guitar driven, but not overly heavy and featuring a short, but classy guitar solo and another good chorus. I'm The One sees Bill back for another shot on lead. Normally I don't like rotating vocalists, as it can break the flow of an otherwise good album. But credit to the guys for making this work and ensuring the album flows well. This track is another mid-tempo bluesy rocker. This is almost a tribute to ZZ Top and is ok, but not an album highlight. Take Me Away is a return to the classic commercial pop/rock Firehouse sound, with CJ's sweet vocals riding over a pleasant mid-tempo rock track. The track has the same vibe as Body Language. Home Tonight rocks just slightly harder, but isn't as catchy as some earlier tracks, despite featuring some cool guitar playing. Let Go is the only ballad of the album and is well placed closing out the new album. This ballad is everything Firehouse ballads have always been sentimental, acoustic driven and layered with harmonies. A great addition to the Firehouse ballad family.
A welcomed return to the rockier sound of the first two albums and a major improvement over the last album. Long time fans will die for this, others might even be converted due to the quality of the performance and the fact there aren't too many bands putting out records like this in 2003.
|
|
Once And Future King Part Two |
Frontiers Records FRCD 161b |
|
|
Once And Future King Part 2 is the second and concluding half of Gary Hughes's ambitious rock opera. Those that have already purchased the opening chapter will have no hesitation in buying Part 2, but for those that have yet to take a listen, I highly recommend this and Part 1 to you. Part 2 differs a little from Part 1 in the same way the second Ten album varied from the debut. This chapter features some different characters and a slightly longer, more challenging set of songs. This is Gary Hughes at his most experimental set of songs ever yet it all fits together perfectly. Any remaining doubters of the man's talents should finally be silenced after listening to this. The performances by the base band (Ten) and the production quality matches the high quality set by Part 1. Kill The King features DC Cooper on vocals, with a song that features a less impactful rhythm section than elsewhere on the record, but a fabulous lead vocal and a very catchy chorus. Grace Of The Gods is a heavy Gary Hughes sung track, that sees the author really experiment with his delivery. The chorus is super heavy and features some cool effects. In direct opposition to the last track is the breezy ballad I Still Love You. This is another departure for Hughes this is almost pop! An amazing contrast to the last song and a credit to the songwriter's abilities to pull it off. Lana Lane puts in a marvelous lead vocal for a feel good (and breezy again) melodic rock number Oceans of Tears. Pure melodic pop/rock, this is as catchy as it comes and is an album highlight. Time to get heavy again and its Irene Jansen back from Part 1 to deliver some angst driven power rock in the form of Rise From The Shadows. Believe Enough To Fight is the third track in a row to feature a female lead vocal. The haunting, angelic voice of Sabine Edelsbacher is another real departure for Gary Hughes and just adds to the impact of the album. Bob Catley joins in to add texture to the song. The Hard Way features popular British rock singer Dougie White. He rarely puts a foot wrong and as expected, his performance here is first rate. This is another track that features a different approach and style to the regular Hughes formula and matches the vibe of White's main band Cornerstone. Another album highlight. The Pagan Dream is a repeat performance from Sabine Edelsbacher. Not as strong as other tracks, but enjoyable nevertheless. Demon's Down is track number two for Dougie White. Another strong performance. Deius features a vocal choir and runs only 90 seconds a segway into the track Without You featuring Diamond Head's Sean Harris. Introduced by an acoustic guitar and starting slowly, the track builds in typical intensity to a mid-tempo rock track that signals a conclusion to the fable. Harris as hoped sounds fabulous. Great to hear him involved. Closing the album and the epic story is the title track the epilogue Once And Future King, performed by Harem Scarem's Harry Hess. This 7 minute track sees Harry well out of his comfort zone. But in a good way. In fact, with Harem content on recording 3 minute pop songs, it's time to see Harry do something a little different. This is a killer track that builds from an epic introduction to a stirring hard rock finish. Harry sounds superb and is joined by Gary Hughes on harmony vocals. I'd like to hear more from Harry like this and the track itself is a fitting finale.
The release of Part 2 will ensure the story can be played as intended both albums back to back. It's rare to be able to listen to 22 tracks in one hit, but the quality of the performances and the instantly likeable melodies compels one to just keep listening as the story is played out through some incredible songs.
|
| Hughes Turner Project II | MTM Music 0681-81 |
|
|
I was, and remain, a big fan of the original Hughes Turner Project release last year. It was a great slice of Purple-esque hard rock, with both Glenn Hughes and Joe Lynn Turner paying tribute to their past and if you look honestly at it cashing in on it. But that's exactly what the fans wanted from them and they delivered. On Hughes Turner 2 we get something a little different. Yes, most of the album is more of the same great 70's inspired hard rock, but as you would hope, this second album sees the partnership between the guys grow stronger and they really have learnt to play off each other with increasing ease. As their partnership matures, so does the songwriting for the project and HTP2 sees the guys experiment more and vary the style of the songs. Not every track works as well as some, but the overwhelming majority sound great and overall the new album gives the classic debut a real run for it's money. Track By Track: Revelation is an easy pick to open the album it's a big, brash, uptempo hard rocker that sees the guys trading lines and playing off each other beautifully. Alone I Breathe is a little different. Featuring a darker tone, the 70's rocker features some tasteful Hammond organ, a prominent rhythm section and toned down guitar riff. The songs builds further towards the end featuring some killer Glenn Hughes screams. Losing My Head has a strong Led Zeppelin feel to it, from the guitar riff to the vocals. The hard edged verse breaks into a very smooth and melodic chorus, which is a nice contrast to the rest of the song. Going My Way is pure classic rock, with a 70's verse, but a more commercial 80's Joe Lynn Turner sung chorus. Mostly a mid-tempo melodic rocker with a real groove to it, the song's chorus is one of those instantly memorable ones. Hold On is yet another change of pace for the duo. Uptempo, but not as intense as earlier tracks, the song has an urgent feel to it, with an unusual chorus hook. Lost Dreams is another cool song and something different for the guys. The 6 minute plus track rolls through a light and groovy verse and then into a chorus that just seems to sneak up on you. It's over before you know it, but comes back around again after a long musical interlude. One of the tracks of HTP2 that sees the guys stretching their abilities more. Time And Time Again is a Joe Lynn Turner sung ballad and matches the vibe of his solo albums and while is nothing new, is very enjoyable thanks to the strong vocal performance. Goodbye Friday is an album favourite. It's another track that features a groovy 70's swagger during the rock verse before breaking into a nice harmony drenched lengthy chorus. Burning The Sky is pure Bad Company style 70's blues rock. It starts with a bang, but gets really laid back in the verse before the organ drenched chorus kicks in. A nice change of pace, but not an album highlight. Sofia features a strong hook, and blazing guitars towards the end of the track. A nice mid-tempo classic rocker. Let's Talk About It Later is another super cool track with a strong blues attitude. The softly spoken into and building drum beat has been done before, but is put to great effect. The track rocks through some fine vocals from Glenn Hughes singing with a monster attitude. I think the track is a little left of center and which will see it miss the mark with some listeners, but Hughes die-hards will love it!
The production on HTP2 is a little rougher than the debut, but remains solid enough. It suits the vibe of the songs and it's the quality there that is the overall strength of the album. I think the album is just that little bit better than the debut it is less commercial and a little tougher, and a little more experimental at the same time.
|
| Delp & Goudreau Delp & Goudreau | Indie |
|
|
Anything Boston or related is always going to attract a lot of attention from the diverse fans base of the band and the guys that have played a role in it's line-up over the years. Barry Goudreau of course, is the band's original guitarist who went on to form RTZ and has spent the last few years in relative quiet. Brad Delp is the much loved original voice of Boston, who has made regular appearances with the band, but has been denied the opportunity of being the band's sole vocalist. So what better than for Delp & Goudreau to team up and record their own album? The announcement of this record caught the fans by surprise, but anticipation was quick to build. The resulting album is one that will keep many happy, but just like recent Boston output, will fail to keep everyone happy and could be considered not the album some had hoped for. What I am referring to is the desire of fans to have a rocking album that matches the glory of the first two Boston albums, recorded by two of the main players in those albums. But time has moved on and all these years later, the guys have matured and aged and the result here, is a far more laid back release than might have been hoped for. We all continue to expect the glory days from all our favourite artists, but it doesn't always eventuate. Delp & Goudreau is still very well recorded and performed. There isn't anything wrong with it at all it will however, be down to personal taste and what you expected from the release as to how you rate it. Opening track What You Leave Behind is one of the album's best tracks a glorious acoustic driven mid-tempo pop rock track. Let It Roll is pure 70's pop, while Out Of My Hands is the closest track to Boston/RTZ on the album it's rockier and moodier and wins hands down for best track of the album. The Rhythm Won't Stop features some tasty electric guitar and Reconciliation also harks back to a 70's pomp sound. Elsewhere the sound is largely acoustic driven soft pop.
A welcomed collaboration that I hope is continued, but next time around; let's hope the guys really beat Boston at their own game.
|
| Cauterize So Far From Real | Wind-Up |
|
|
Canadian band Toe signed to modern rock label Wind-Up and changed their name to Cauterize for this, their debut album. But it's not you see
Toe recorded an indie album with the title The Moment I Cauterize, which many of the songs there were re-recorded for this album, with producer Murray Daigle at the helm. Murray of course is well known to us melodic heads as a member of Emerald Rain. But to the album at hand So Far From Real, which just happens to be one of the very best modern rock records of 2003! This is right up there with Waltham for having a great nu-breed inspired modern rock sound, but with more than enough hooks and melodies present to impress most traditional melodic rock fans. This is a truly high-energy release, with every one of the album's 11 tracks filled to the brim with in your face guitar riffs, massive vocals and highly memorable songs. The key to Cauterize's songs is the layers of instrumentation and the melodies, which become more familiar with every listen, but somehow there's always something new to discover each time it's played. With a flurry of guitars and high pitched vocal Something Beautiful opens the album. The hooks are everywhere and the guitar riffs seem to be everywhere, with new layers unfolding each listen. The chorus is a monster, with the punky attitude of the vocal delivery dropping away to a soft and sweet mid-song break before launching back into the full on assault of the chorus. More hooks and harmonies come to light right at the end of the song. It's hard to believe it's all fitted into 3 minutes 22. If You Go is even more in your face and after running through a hook filled verse features another monster chorus and some fine guitar riffs. My Everything has a darker tone and a guitar riff. The whole song is sonically heavier, with a sparse verse that builds as the song goes, adding layers of harmonies and then there's that chorus. Immense and driven by a wall of guitars. Johnny Lima meets SR-71 on acid. Huge! Killing Me starts softly but soon bursts to life with an angst filled verse and bam another monster chorus with a huge hook and sonic blast to the ears. But that's just the opening 4 tracks elsewhere the quality continues and the bombardment to the sense continues. Highlights include the moody Still Breathing, the anthemic hard rocker Choke, the furious Shooting Stars and the closing track Shine a heavy, but melodic feel good rocker.
Although it takes a few listens, the album contains great variety within the songs and the delivery of them. Additionally, the album has that 3 minute power-rock song feel of recent Harem Scarem. The combination of all of the above makes for very appealing listening, especially if you love it loud and enjoy melodic rock with a modern edge. Highly recommended.
|
| SIN Somewhere Into Nowhere | MTM Music 0681-80 |
|
|
SIN isn't a well known outfit, but once word of this album gets out, I am sure that oversight will be corrected.
I don't think the album cover reflects the music within accurately it looks like a metal type affair, but in reality, the guys play a very melodic brand of European hard rock. And they do it very well. The band is German, but features a British singer Jason Marks, which helps in the delivery of the songs there's none of that vocal accent so many Germany bands have. The band's style is hard to define its melodic hard rock with harmony vocals come chorus time and a powerful rhythm section that is constantly at work. The uptempo Crucified is a strong start to the album, while Throwing It All Away is as melodic as you will hear coming out of Europe, and All Of my Heart is a big soaring ballad.
|
| Taraxacum Rainmaker | MTM Music 0681-78 |
|
|
Taraxacum's debut appeared on the MTM sub-label MTM Metal, which clearly defined the band's sound for potential listeners. With that sub-label more or less a thing of the past, the band's new album appears to be a little more commercial and certainly more melodic than the all metal debut. This is still a heavy metal album, but it's going to be far more accessible to other hard music fans. A well-versed line up of established names - gathered from the likes of Steel Prophet, Edguy, Axel Rudi Pell and Haggard are doing what they know best on Rainmaker in your face European melodic metal. If Tesla were European and went metal, Rainmaker might just be the resulting album. I never returned to the debut once I finished reviewing it, but I can see a longer shelf life for this album.
|
|
Van Halen Tribute Best of Both Worlds |
MTM Music / Versailles Records |
|
|
The Best Of Both Worlds was put together by US rock label Versailles Records and released earlier this year. MTM have licensed it for release in Europe. The idea is strong enough it's a Van Halen tribute record with half of the album dedicated to singer #1 David Lee Roth and the other half to singer #2 Sammy Hagar. Except it's not entirely a Van Halen tribute, with half of the album's 12 songs actually belonging to Sammy and Dave's solo careers. Only 6 tracks here are actually Van Halen songs! The artists involved vary from well known to barely known. And the performances vary from rather cool to rather messy. Panama performed by Jimmy Crespo and Richard Kendrik is one of the stronger tracks and is no surprise to open the album. Shy Boy features Jason McMaster and Tony Harnell sharing lead vocals, but if anyone can hear Tony in there, let me know where. Disappointing. Yankee Rose is performed by Enuff Z Nuff fans of the band should take to this track, but Donnie Vie's vocals really are an acquired taste that I am yet to appreciate. Ain't Talking About Love is horrid I have no idea who newcomers Jet Black Joy are, but I suspect they won't win too many fans based on this rough and raw recording. Corey Craven or is it Corey Graven (his name appears in both spellings within the booklet!) does an ok version of Tobacco Road, that features some nice guitar shred. American Dog stay true to their attitude and whiskey soaked style of sleazy blues rock on the good time Roth era tune Take Your Whiskey Home rather fitting really. Full Tilt pay tribute to a recent Hagar solo tune Mas Tequilla. It's ok just ok. Gravity Pharm were formerly known as 5150 a Van Halen tribute band. Their rocked up version of Why Can't This Be Love is pretty good. Shane Volk does another rocked up version of I Can't Drive 55, which works ok, but there's no substitute for the original. The always impressive Richard Kendrik comes back for another shot with the uptempo Hagar era ballad When It's Love. An album highlight, with great harmonies. Gravity Pharm are back in their original form 5150 for the classic Right Now. Close to those Sammy vocals, but missing Eddie .not bad. There's Only One Way To Rock closes the album in solid fashion, with a high-octane rendition from former Kix vocalist Steve Whiteman. Good fun and well executed.
|
| Nickelback The Long Road |
|
|
I really have developed a strong liking for some modern pop and rock in it's most melodic form such as great bands like Cauterize, BBMak, Mars Electric, SR-71 and especially Waltham. Nickelback are probably the most commercial modern rock act that I have covered on this site and while they have a legion of dedicated fans, I'm not one of them. I just can't warm to these guys which has nothing to do with the quality of the tunes I just prefer the more nu-breed or melodic side of modern rock. Nickelback, along with Vertical Horizon, are the probably the biggest selling bands of the genre. Their new album sees using the same recipe that brought them commercial success with their break through album Silver Side Up. In fact tracks like Do This Anymore and Someday are almost a direct carbon copies of tracks from the last album. That should guarantee more solid sales results, but some may be disappointed that no new ground as been broken. The band's cover of Elton John's Saturday Night's All Right For Fighting is a little strange it does rock though and will be a good fun hit with fans of the band. Those issues aside, the album sounds a million bucks it features a big production job consisting of a multi-layered and evenly mixed sound and a powerful vocal delivery. The song style for me just isn't catchy enough like I said earlier, more traditional hard driving modern rock than the commercial and catchy punk styled nu-breed sound.
Modern rock fans will no doubt find more joy and should come away satisfied if not totally blown away.
|
|
Ring Of Fire Burning Live In Tokyo |
Frontiers Records FRCD 163 |
|
|
Ring Of Fire's pedigree is unquestionable. The band's line-up is quite something - if you are a fan of neo-classical shred metal. Live In Tokyo is primarily aimed at the band's biggest fan base the Japanese. That it is being released outside of Japan in both CD and DVD formats by Frontiers is merely a bonus for other die-hards fans that won't be forced to pay the all too expensive import prices. The CD covers 15 or so tracks from the band's few albums to date plus the expected if not contractually required! extended individual solo spots yes, there's one here for each of the guys, meaning we have to sit through long guitar, keyboard, bass and drum solos. Great for fans of virtuoso playing let's face it, these guys are all virtuoso's but not so great for those that just want to get into the songs at hand. Sound wise it's pretty raw and isn't the cleanest or clearest live recording I have ever heard, plus the vocals of Mark Boals could have been raised in the mix a little.
|
| Crash Kelly Penny Pills | TB Records TB-CD-01-07 |
|
|
Canada's Crash Kelly is another band that is hard to pigeon hole. Largely the brainchild of frontman Sean Kelly, the band is a strange mix of a Cheap Trick style power pop and nu-breed, mixed with touches of surfer punk and glam. The best thing is the songs while recorded in a fairly raw and loose manner - all contain strong hooks and recognizable choruses designed to penetrate the listener's conscience. The 11 song album runs only 36 minutes, so you know what's on offer here simple 3 minute "fuzz" rockers that wouldn't sound out of place on an Enuff Z Nuff album.
|
| Harem Scarem Higher | Frontiers Records FRCD 166 |
|
|
The writing partnership of Hess/Lesperance is the melodic rock equivalent to that of Lennon/McCartney. The duo is that good. As far as writing the best possible examples of the music we love, these guys are it. They may vary their delivery, style and pace, but rarely do they write anything that isn't instantly likeable and memorable. And more importantly fans are guaranteed at least 2 or 3 absolute classics on every single album. Sometimes more. When you consider this is the band's 7th studio album (without counting the Rubber releases) that adds up to more classic tracks than the vast majority of fellow artists. Last years Weight Of The World album saw the guys return to their more classic melodic rock style, which also included a couple of modern friendly tracks and a very contemporary production. The album had it all it was the complete package. So what could they do with Higher to in order to compete with that classic album and possibly even better it? The band's answer was to combine the best parts of Weight Of The World with their much loved and more AOR styled self titled debut. Higher is simply drenched in melodies and is more chorus friendly than any other album since the debut, yet it sounds very contemporary and quite refreshing thanks to the modern production. This could almost be considered Weight Of The World's younger brother. This is an album that is a little softer and not as in your face, but filled with glorious harmony filled songs that experiment less and see the band really working the choruses. Even better, those choruses are all connected by even more bridges, harmonies and hooks. Track By Track: Reach kicks off the album with typical Harem Scarem gusto. The track has a modern feel to it, especially in the delivery of the verse. Harry's vocals and the hard edged riff add something new to the band's repertoire, but come chorus time it's back to familiar territory. The track is a solid rocker and the heaviest number on the album, but isn't as original as other tracks. The arrangement has been heard before in such tracks as Believe, Voice Of Reason and Change Comes Around. Waited is a definite contender for Song Of The Year. Starting soft, with a blanket of acoustic guitars, the song bursts to life with a chorus to die for. You only have to wait 40 seconds to reach this monster, emotional mid-tempo anthem that is as instant as it is perfect. Adding texture to the song is a mid-song tempo break before multi-choruses are laid on us. As classic as Hard To Love or Sentimental Blvd. Torn Right Out could have been torn right out of Harry's own solo record, or the last album, with its more modern pop/rock vibe. But at its heart, this track is another melodic beast, with another big chorus and definite sing-along potential. Give It To You is the only track that really touches on the band's love of nu-breed or modern rock on Higher. The songs has a similar vein as Weight Of The World tracks Killing Me and If You, and like those songs, features a huge chorus that all melodic fans will love. Higher sees a return to the classic Mood Swings guitar sound and is another mix of that album and Weight Of The World. The title track is a lovely mid-tempo ballad in the vein of This Ain't Over or End Of Time. The song has a definite Def Leppard stadium feel to it and the multi-layered harmonies are nothing short of glorious! This for me, is the most interesting and intense part of the album. We are at the half-way mark and I find that the last 5 tracks run together so perfectly, so seamlessly and with a pure melodic bliss that any band would find it hard to top such a run of great songs. Run And Hide is the first track of this section. A moody vocal intro bursts into a pure pop/rock verse with a great vocal harmony that only these guys are capable of. Then there's the chorus f*** me. This feel good, hands in the air, sing-along monster is just perfect melodic rock. It's dressed up in 2003 clothing, but this is melodic rock in its purest and most perfect form. And when the guitar solo is over and the band burst straight back into the chorus, pants will be pissed across the melodic world. But it's not a one off it's now straight into Lucky Ones, a track that counters the pop bliss of Run And Hide by being darker and heavier. An acoustic verse is eclipsed by a moody rock verse that sees the band trying something new both with song arrangement and vocal delivery. This is Higher's answer to Charmed Life off Weight Of The World. Lies is next, which runs perfectly on from the dark and heavier rock of Lucky Ones. Another angst filled vocal from Harry fills the verse, before a great bridge changes tact and launches us into yet another massive chorus. This is another brilliant example of the genre at it's very best - the chorus is sheer melodic bliss. The vibe of the song matches With A Little Love from the band's debut, although quite heavier and featuring a great (but short) guitar solo. Gone is introduced with a flurry of acoustic guitars. Another moody, but melodic vocal is only topped by another monster sing-along chorus. It's a little more restrained than the last couple of choruses, and a little softer, but no less impactful and is another magically memorable chorus. It's hard to believe the last track is here already. More modern production tricks help keep the sound contemporary, with this track dominated by a great guitar riff. A short bridge in the song lifts the temp a little and then drops us head first into yet another souring, hands-in-the-air chorus. This is another album favourite if such a thing can be selected from all the great tracks on offer. It's an emotion and power filled rocker and the chorus is one of the band's best.
Not many artists can claim such a right. Previously, when someone asks what is the best album to try to get into Harem Scarem, I would answer Weight Of The World, and also suggest the original classic Mood Swings, followed by the debut. Now I will simply suggest Higher as it features a combination of everything that has made the band great - the monster choruses we live for, intelligent songs and a powerful delivery all wrapped in a great production that keeps the music contemporary and open to all newcomers. I don't think the sound is quite as snappy as it was with the last album particularly that awesome drum sound, but I believe the songs on Higher to be so utterly essential that fans will rate this album as good as, if not better than the last album. But the production is still world class. It's even possible that once reality sets in and you realize just how good the songs of Higher are it could rate as the band's best album to date. You won't think that after the first couple of listens. But the consistency of the album is just too strong to ignore. I have no hesitation in rating this a "perfect melodic rock album". I've only done this on 4 previous occasions Danger Danger (Return Of The Great GIldersleeves & Cockroach), Mecca and Harem Scarem's Weight Of The World. I should also have done it for Steelhouse Lane's Slaves Of The New World, but I wasn't far off. Where do the band go from here? Onwards an upwards I hope - my only suggestion is for longer songs and at least 12 tracks on any future album.
|
| Attraction 65 Attraction 65 | Atenzia Records ATZ 020 |
|
|
I've been looking forward to reviewing this album, as I have a definite soft spot for it and frontman Gregg Fulkerson. It's been an anticipated project for me and I'm thoroughly impressed with the results. Stepping out of the shadow of the popular Blue Tears album, Gregg makes his return to active recording with Attraction 65 essentially Blue Tears 2003. The underlying vibe is the same, even if the band members are a little different and the sound is very firmly planted in 2003 modern rock territory. That said, the sense of melody in the songs and the style in which they are written is a throw back to Blue Tears and the whole 80's melodic genre. This may be catchy modern rock, but the vibe is classic melodic rock. Also part of Attraction 65 is Gregg's former Blue Tears partner Michael Spears, who most recently also worked with Billy Falcon on his new album. The sound of Attraction 65 matches anything on FM radio anywhere in the world today and is every bit as good. The album contains a diverse range of styles, comparing to U2, Nickelback, Bruce Springsteen, Bon Jovi and even a little Creed. And to be honest, there are at least 4 or 5 songs on here that have every chance at major radio airplay. Three tracks here have been brought in from the post-Blue Tears years, which will please fans of that band. These three songs help bridge the gap between then and now, even though all songs and styles on the album are held together with great consistency. Track By Track: Believe opens the album like all good rock albums should be with a bang. The song is an uptempo melodic modern rocker, with the emphasis on melodic. Unlike most modern rock acts, this track has a big chorus and a real groove to it. Roll On is one of the big radio tracks. Starting softly, the semi-acoustic track builds to the chorus and continues as a full band track, with a guitar riff reminiscent of U2, but a delivery in line with that of Nickelback or Creed. The chorus is inspiring, memorable and definitely a sing-along possibility. In Another Life is my pick for a break out hit. Catchier, more uplifting and instantly likable, this feel good rock track builds from its acoustic base, to a powerful and heavy finale. The songs contains a huge bridge, tempo changes and hooks everywhere all wrapped up in a modern package. I believe Train is another classic in waiting. This is a dark and moody track that features another stripped back verse that builds to an instantly memorable chorus and back again. And once again the song builds towards a heavier and more dramatic finale. Tell me this can't be played on radio! Stand starts as a totally acoustic track, building with a U2 vibe, into a stadium friendly mid-tempo rocker. Nice to hear an instrumental break mid tune, giving way to a vocal choir that takes the song right over the top. The song has a big epic finish that again highlights the strength of the songwriting on this album. Eden is next up and changes the pace and style of the album again. This is classic Joshua Tree era U2. Gregg does a great soft Bono style vocal to lead the epic ballad off. Once again, the song leaves the listener with 'warm fuzzy feeling' and will definitely appeal to U2 fans out there. Call My Name is another former Blue Tears track, dramatically resurrected for Attraction 65. This track is the closest to the old Blue Tears sound on this record. It's a big Bon Jovi/New Jersey style feel good rocker, which while updated, has a classic melodic rock heart. Strong is another post-Blue Tears era track. This is another semi-acoustic mid-tempo track with a big melodic heart. The chorus is as catchy as any other track on the album and features that vocal choir in the background again. A simple track that somehow has an epic feel to it. It's time to rock again! Rise Above is much like the opening track a big pounding rocker with a cool groove and another catchy and powerful chorus. Storm In My Heart is another post-Blue Tears track and is one of my favourites on the album. Starting out slow, this rock ballad builds to a barnstorming and passionate conclusion. A massive chorus sets the strong melodic tone of the song. The track runs strength into the other big epic ballad of the album Swept Away. This track has a huge feel good chorus and closes the album on a perfect note. If a ballad like this can't get onto mainstream radio, then nothing can.
Listening to this album takes your energy, as it's a powerful and emotional set of songs that sucks you right in. Its definitely a mood record too .largely mid-tempo, the album best suits when the listener is looking for something with an intelligent heart to act as something more than just background music. Regardless of the style of the music, the songs are powerful, melodic and brilliantly written. It will be down to personal taste what you take from the record, but I for one rate it as one of the best modern melodic releases and a prime example of how to update one's sound to compete with the best, while never once forgetting how to write a memorable hook, melody or chorus.
|
| Influences & Connections Volume 1 - Mr. Big | Universal Japan UICE-9008 |
|
|
This is a very interesting release. A little curious also. I was really looking forward to it and now that I have lived with it for a week, this review will reflect a lot of positives, but also a few negatives, as I was a little disappointed with the overall result. I'm a huge Mr. Big fan, so the idea of the guys in the band re-recording their own tracks with outside guests was somewhat appealing. The fact that singer Eric Martin has been totally cast aside though does leave a bad taste. He could easily have re-recorded one lead vocal or provided backing vocals along the way. But no the obvious personality issues within the band are all too evident with his absence. The choice of guests was also interesting. Some inspired, some not so. I'll comment on those within each track description. While the album as a whole is enjoyable, the track selection could possibly have been better and the running order also altered. It starts off slow and struggles to get out of first gear for the first few tracks. Major credit however, must go to producer Pat Regan. The music itself sounds a million bucks and sounds every bit the major label production job it is. The base band for most of the album is Lanny Cordola on guitar and Chuck Wright on pass, with Pat Torpey on drums. They do a great job. Track by Track: The album opens with one of the slowest tracks on the album. I would have though this would be better placed in the middle of the running order. Mr. Big is a very slow track and doesn't start the album with the usual pizzazz Mr. Big records are treated to. Having said that, there's nothing wrong with the track. Guest singer is the rather brilliant Paul Rodgers, who of course was responsible for the original song with Free. The rest of the band is comprised of the guys of Mr. Big, which make the track sound massive, with Billy Sheehan's bass all over this track. The track was never written by Mr. Big, therefore is a cover of a cover, but being the band's namesake, I'll let that slide. Take Cover is one of my favourite Mr. Big tracks ever. So it was always going to be tough going to improve on the original, which features a magic Eric Martin vocal. Here the songs features the guys of Kings X. Doug Pinnick is singing and at least does an admirable and unique interpretation, but it's a long way from the passionate vocals of Martin. The intense vibe of the track however, is kept in place. The first uptempo rocker of the album is Colorado Bulldog. Featuring Joe Lynn Turner up front, this version is a little flashier than the original, thanks largely to Marty Friedman and Lanny Cordola's guitar parts. Joe does his usual solid performance, making the song his own. I have a problem with the track Wild World. Firstly, it's the worst song Mr. Big ever recorded and is another cover of a cover. I really hate this song. I didn't even like the Eric Martin version of it! John Waite is featured vocalist and it's a shame to waste his contribution on this track. Would have much rather heard him sing Just Take My Heart or To Be With You or Take Cover even .now that would have been something special. In any regards, this is a nice and pleasant version, which is maybe better then the previous Mr. Big version. Like on his album Temple Bar, Waite has a unique and enjoyable way of interpreting covers. Still hate the song though Price You Gotta Pay features a ripping bass line from Chuck Wright and the always awesome Glenn Hughes on vocals. Guitars are by Lanny Cordola and the solo by Steve Lukather. Yes, this track rocks! The version is more stripped back and blusier than the original which I still prefer but it's always great to hear Glenn sing like this. Promise Her The Moon is an album highlight. This sweet ballad was another favourite of mine, this time featuring the always on song Ann Wilson. A sweet pop ballad. Time to rock again with another Mr. Big classic - Addicted To That Rush. The guys have turned this into an uptempo swampy blues rocker, with Billy Sheen on lead vocals and Chuck Wright shredding away on bass. The rest of the band is the last Mr. Big line-up. An interesting version, which varies from the original quite nicely. Just Take My Heart features another classic melodic rock voice Mickey Thomas. He plants his own stamp firmly on the track, which again features Wright/Cordola and a solo from Gene Black. This doesn't vary from the original much, but Mickey Thomas fans will love it. Shine is a step backwards. It's a classic track, but hearing Dogstar (Keanu Reeves, Bret Domrose) rework it is hard on the ears. Comparing the lead vocal to Eric Martin is like comparing Lemmy with Steve Perry. Skip Crawl Over Me is another track that was included on the last Mr. Big studio album. This version sees drummer Pat Torpey take lead vocal and Matt Sorum take over the drum stool. Like Addicted, this is more a good fun version. A good rock track. To Be With You is another bluesy version of the original. Richie Kotzen takes over lead and Steve Salas provides the solo. A cool version that's enjoyable, while not overpowering the original. Green Tinted Sixties Mind is another personal Mr. Big favourite. The original was a perfect slice of melodic pop and helped the band sell a truck load of their breakthrough Lean Into It album. But this version is bloody awful. Donnie Vie is responsible for the horrendous vocals and the song is overall rather lifeless and bland. Take out original songwriter Paul Gilbert and vocalist Eric Martin and the major is gone. Daddy Brother Lover Little Boy ends the album on a high note, with Joe Lynn Turner back for another go. Faithful to the original, this uptempo rocker differs only with the inclusion of Yngwie Malmsteen on guitar, who not surprisingly shreds throughout. Good fun. Included in the first pressing is a bonus DVD of behind the scenes 'making of' footage. Sadly, it's only 7 minute long. Yes 7 minutes. The interviews are brief, but interesting, but it's all over before it starts and there is no actual footage of in the studio performances. I hear a full length DVD is planned, with extra music included, but I'll be wary of buying it based on this extract.
For the most part the performances are first rate, aside from a couple of dodgy vocalists. The production is also first rate and execution is also very good, but a few tracks just don't have the life and vibe of the originals and a couple of tracks might have benefited from better placement. And points off for not including the other Glenn Hughes track that was recorded for the album. The great man doing Alive & Kicking would have been even better than Price You Gotta Pay and a mile better than Green Tinted Sixties Mind. Enjoyable, but overall - considering the quality of the originals and my love of all things Mr. Big a little disappointing.
|
| Rob Rock Eyes Of Eternity | Massacre Records |
|
|
The ever reliable Rob Rock is back with his band Rage Of Creation for solo album number two. Again flanked by the very talented Roy Z producing and playing guitar, Rob sings his heart out and delivers an album ever bit as good, if not better, than his debut. This is another great example of European neo-classical metal, right up there with the also excellent Brazen Abbot - making two of the best heavy albums of the year. There's lots to like about Eyes Of Eternity lots of changes in pace and variation of song delivery, lots of high energy hard rock, lots of shredding guitar solos, but best of all, plenty of those authorative Rob Rock vocals. There isn't anything unexpected on this album, but that's a good thing. 8 of the tracks clock in between 4 and 5 minutes, with track 9, The Hour Of Dawn, acting as the album's official epic clocking in over 12 minutes. Plenty of the expected tempo changing metal acrobatics and guitar shredding on this one. There are no ballads within sight here, just plenty of in your face rockers. But melody hasn't been forgotten, Rob's powerhouse vocal continues to deliver its strong melodic message. With each album Rob is making a bigger name for himself and further creating his own legacy, rather than one just as the vocalist from Impellitteri. And speaking of which, both this and Rob's last solo album easily out-rate the last Impellitteri.
|
| Melodine Out Of Your Hands | Atenzia Records ATZ02013 |
|
|
Melodine is another interesting release from Atenzia. If Rush Of Ushers is a modern pop release, this is equally a modern rock release. This is the band's second album and sees them taking a slightly tough approach. Their debut veered more towards power pop but Out Of Your Hands is more electric guitar driven and features a punchier production and overall, plus some stronger songs. Melodine sound like an alternative rock version of Crowded House or The Rembrandts, with a stronger slant on that indie vibe. Exit Wounds opens the album in strong fashion, itself a crunchy modern rocker. There's the sweet and very catchy pop of She's Only Human, compared to the Elvis Costello vibe of the equally catchy, but heavier Heaven's Coming To California. Nothing New features some great chorus harmonies and It's Coming Around isn't too far to wander for fans of Rubber. Add in a touch of Beatlesque pop, some strong harmonies and a rather impressive album is in your hands should you chose to buy it. This is another for those that have a feel for the alternative and modern rock style music out there, but remains a very good example of it.
|
| Rush Of Ushers Delightfully | Atenzia Records ATZ 02014 |
|
|
Fronted by Daniel O'Brien, Rush Of Ushers would have to be the most left of melodic center release Atenzia have yet released.
Daniel released a rather good indie style pop rock album on a MTM sublabel several years ago, and this is the official follow up to that record. This is a fine slice of alternative pop rock, with O'Brien's pleasant sweet vocal harmonies ruling over a mix of electric and acoustic driven modern pop tracks. This is not a release for fans of 80's melodic rock or AOR - or one for fans of heavy music. This is a release geared perfectly towards fans of soft, stripped back, reflective, alternative pop rock. It's well recorded, perfectly mixed, features some very strong songs and should be sampled by those that favor the modern pop genre.
|
| Pat Benatar Go | BelChassio 79743-2 |
|
|
The end result is that I am quite pleased with the new Pat Benatar album. If I make any sense, I hoped for a classic, but expected less. What I got, and I expect fans will also find, is something in between. The best news is that the album rocks in places and isn't devoid of energy and passion. The album's only weakness is the absence of a few stronger and catchier songs. Pat and husband/guitarist Neil Geraldo have updated their approach to sound a little tougher, which suits the songs and the album as a whole. When the album isn't rocking, the songs are largely semi-acoustic, with modern production and song structure. It contains strong commercial tendencies, but whether radio in 2003 is interested in Pat Benatar is anyone's guess. Again, I would hope so, but fear not. Go is the lead track and possibly the album's strongest, most identifiable track. It's a big uptempo rocker with a hard edged modern rock guitar riff, but importantly, features a nice melodic chorus with a strong lead vocal. Album highlights besides the opening title track include Brave, a semi-acoustic mid-tempo pop rocker; I Won't, a tuned down modern rocker; Sorry, an acoustic driven pop track; Please Don't Leave Me, a strong ballad and Tell Me, a catchy modern mid-tempo rock track.
A definite step in the right direction and proof that classic artists can still match it with the 'now' generation.
|
| Outland Different Worlds | Avalon/Marquee MICP-10378 |
|
|
Outland is LA musicians Jeff Prentice and Rob Nishida, who together perform all the parts on this album. The band hark back to the heyday or AOR and melodic rock, performing a thoroughly 80's style of keyboard/guitar combo AOR, with a classic sound, but a production that isn't dated. This is a great album for fans of classic era melodic rock. I am a little surprised to hear how good it is, as I had no warning of its impending release! Normally something as strong as this has a little pre-release hype. But, for fans of the 80's (lots of ya!), this is going to be right up your alley, as it mixes a little early Bon Jovi with early Boston and even some classic Survivor. The album opens with the guitar driven feel good melodic rocker Valerie, which is followed by another uptempo track in Love Alive, which is from the same school as UK AOR star Newman. Forever Yours is a hands in the air ballad, with a strong chorus not unsimilar to early Bon Jovi. One More Night turns up the heat a little, with another classy and memorable chorus. Mary Anne is classic guitar driven 80's AOR with a strong Boston twist. Elsewhere Last Forever is another monster ballad with a lot of class, Different Worlds has a Magnum-esque pomp feel to it; and Strong Enough shines as another classy rocker. The guys have also included a cover of the Stage Dolls track Love Cries, which has all the positive elements of the original, with the band's own stamp placed on it. Very enjoyable.
|
| At Vance The Evil In You |
|
|
At Vance have been around a few years now, always being consistent, but without ever really making huge waves in the metal community. Their latest album is more of the same - high energy, European melodic power metal, with just enough references to evil, angels and the other required metal colloquialisms. What makes this a more impactful and interesting release over their other albums is the inclusion of new singer Mats Levin. A particular favourite of mine, Levin has an impressive resume that includes Yngwie, Dogface and John Norum. With At Vance, Levin is pretty much working within his talents he can sing stuff like this in his sleep but it certainly adds to the already strong songs and his voice is a quality drawcard for fans. The production is strong and the album certainly rocks hard from start to finish. The record includes slow heavy rockers, a couple of epics and a few uptempo double-kick drum rockers for good measure. The opening track and Curtain Will Fall are definite highlights.
|
| Vonray Vonray |
|
|
Yet another new modern rock release is upon us in the form of Vonray's debut. And as with several other releases recently, this is another album that puts its hand up for purchasing. That is as long as you are a modern melodic rock fan. Vonray might get included into the nu-breed genre, but in reality, they are just a modern version of melodic rock, with a similar approach and style to that of Matchbox 20 and vocalist Rob Thomas, except these guys are a little heavier, more aggressive and less commercial, in a SR-71 vein. The band already has some passionate supporters and it's no surprise to see why. The album's songs are impressive throughout, with a mixture of mid and uptempo rockers and sometimes acoustic driven pop/rock songs. Lots of good hooks and some catchy choruses can be found on Inside Out and Hole for example. Only the last track Unstoppable Wave resembles a ballad, the rest is high energy mid and uptempo rock n roll. Highlights include Inside Out, Strange and I'll Show You. All would sound quite at home on radio anywhere. A note for some - the tone of the lead vocals is very much that modern rock tone. I prefer a more classic melodic vocal, but his voice suits the material.
|
| Billy Falcon Songs About Girls | billyfalcon.com |
|
|
Believe it or not, this is Billy Falcon's 9th album, his 3rd since the break through album Pretty Blue World - even if album number three (for Mercury Records) was never released. On Songs About Girls, Falcon is joined by Blue Tears/Attraction 65 bass player Michael Spears and Falcon's daughter Rose herself a rising talent. The album sticks to the sound of Billy Falcon's previous records and sees the singer/songwriter doing what he does best which is writing intelligent acoustic driven southern rock songs, with the heart of those songs wrapped up in Billy's own life experiences. Songs About Girls is Billy's best album next to Pretty Blue World which saw his score a major hit with the track Power Windows. This is stripped back John Mellencamp / Tom Petty style rock, covering uptempo rock - Songs About Girls; bluesy rock ballads 98 To Alabama, Weightless; Tom Petty pop/rock Box Of Chocolates, Damn; stripped back pop Breathe, Weeds; and a great ballad or two also, such as My Angel and Wish, which features Rose Falcon on vocals with Billy. Billy's also re-recorded Power Windows, which is in keeping with new sound of this record, mixed with the soul of the original track and spruced up with a modern production. It's still a great song.
Billy's done a great job of recording this album himself, which sounds like a major label release and from the quality of songs, deserves to be.
|
| Marvel Everafter | Target Records TR0410 |
|
|
Marvel are a Portuguese band that play their own geographically influenced version of US 80's stadium melodic rock, with the band's personal influences listed as Harem Scarem, Hardline, Danger Danger and Firehouse. While the style of Marvel is in that ballpark, the difference between those bands and Marvel is the lead singer. He does an ok job, but doesn't compare to any of the above. Musically the band is competent and the production quality is quite good. The emphasis remains on the guitars a dual attack is mixed with electric and acoustic. It makes for an interesting and enjoyable blend within the songs. But the guys need to make an increased effort with their songwriting stronger hooks and more consistent placement of melodies are needed to draw in the listener and those lead vocals aren't always easy to listen to.
|
|
Robin Black & The Intergalactic Rock Stars Planet: Fame |
TB Records TB-CD-0102 |
|
|
The future of Glam rock, which once climbed lofty heights thanks to the likes of Pretty Boy Floyd, Tuff and early Poison, is safe and well in the hands of Canadian Robin Black and is band of cohorts. Performing the most pure form of good time, uptempo, cock-rock glam, Black commands attention from the very opening track the ultra catchy TV Trash. The cocky Some Of You Boys keeps things flowing as does the very likable Suburban Sci-Fi, which features one of the album's best hooks. The songs are all written by the band as a whole, who have a spot on ability to nail exactly what glam is all about feel good uptempo pop / hard rock, with politically incorrect lyrics all delivered with lots of big hooks.
But one listen to this album will bring to your attention the fact that Robin Black's Planet Fame album eclipses them all. This is a well produced, well written and performed, good fun glam rock record. Essential for all fans of glam and cock rock.
|
|
Open Up - Featuring Morten Holm Open Up |
MTM Music 0681-77 |
|
|
Interesting release this. Morten Holm is the man behind the music, yet he plays no part in these actual performances. Rather, his songwriting penned from tough personal circumstances - inspired producer David Johanson to form this album. The easy flowing pop vibe reminds me of the debut Joey Tempest solo album, which in itself, was a mirror of a Jackson Browne style pop rock release. Open Up has that same breezy feel, with pleasant songs, easy listening vocals and feel good choruses. Featuring Canadian classic rock singer Dave Evans on vocals, the album rolls along harmlessly, but it does straddle the border between positively happy and cheesy. All in all, the record is a laid back Westcoast style album with a simple pop tempo. The stand out tracks are the ones that are most instantly memorable and a little less reliant on the sentimental aspect. Dreams, Open Up, Lonely Days and What Am I Gonna Do are easiest on the ears.
|
| Skid Row Thickskin | skidrow.com |
|
|
Skid Row is another band that is faced with overcoming huge odds to make a successful recording comeback. The scene has changed, the fan base has changed and those still around have been waiting patiently for this album for several years now. With new singer Johnny Solinger, the band has spent considerable time recording and even re-recording parts of this album. The band have tried to shop it to labels, and then decided to go it alone, only to shop it to labels once again before finally biting the bullet and releasing the album themselves last week. Skid Row have updated their sound big time. While this remains a rocky and mostly uptempo album, the overall sound is more in tune with (heavier) Goo Goo Dolls and Matchbox 20, than Slave To The Grind era Skids. I am not surprised that no label picked up on this. Not because of the quality of the album, but because of the style. No label would find this record easy to market to a new audience with the name Skid Row attached, while other die-hard Skid's fans might find parts of the new sound hard to stomach. The good news is that amongst the tracks on Thickskin are some true gems. Yes, the style has changed, but the band has written some very good songs, which at least gives them the chance to reach potential purchasers. But I do fear the worst. I think this album will be a hard sell outside a core audience. Which is a shame really, as those that pass on the album will miss some good songs. Overall there remains some fillers, but the band should be proud of their ability to remain relevant in 2003. In fact, it's the most modern rock friendly tracks on here that I like the best. Track By Track: New Generation opens the album as expected a big bombastic hard rocker, which immediately sets the tone for the album darker, more contemporary and of course, that new vocalist! The song features vocal effects and some big riffs, plus a very punk chorus. Ghost is the first of a few tracks that are almost unrecognizable from the Skids of old. This mid-tempo rocker wouldn't sound out of place on a Matchbox 20 record, with some great vocals and melodies making the track memorable and a definite radio possibility. Swallow Me is one of the darker tracks on the album, with the guitar sound and vocals both very much influenced by today's modern rock sound right down to the fairly bare chorus. Not the most easily digestible track. Born A Beggar is a diamond. A real gem of a track. In fact, it's the furthest track from the Skid's of old and my favourite of the album. This uptempo Matchbox 20/Goo Goo Dolls style modern rocker has a great guitar riff and melodic chorus that bursts into a big heavy anthem. Some old fans of the band might have some trouble with the style, but it's a great track. It was no surprise to see that Thick Is The Skin was previewed by the band as a lead single. It's the most traditional sounding Skid Row track on the album, acting as a bridge between the old and the new. Great track and still the heaviest of the album. See You Around is another modern rock track that might throw old fans for a loop. Very commercial and quite laid back, this track would sound right at home alongside Nickelback, SR-17 and MB20 on the radio. Mouth Of Voodoo sees the tempo and the aggression lifting again, but it doesn't match that of the opening track or Thick Is The Skin, plus a weak chorus lets it down a little. One Light is the album's only proper ballad. It's an mid-tempo modern rock ballad, but nevertheless one that is very commercial and a hell of a long way from 18 And Life. I Remember You Too is a high energy punk version of the Skid's classic track. This version is nothing like the original, but a bit of fun and comes at a good point in the album. Lamb keeps things rocking along, with a heavy track that is closer to the band's old style. A good hard rocker. Down is another rocker, but a more contemporary one this time. Not as catchy as earlier numbers, but solid enough. Hittin' The Wall finishes the album by rocking hard. It's not as heavy as Thick Is The Skin, but still manages to raise a sweat and walks the fine line between the modern and old school sound.
Whether fans will accept their updated approach is yet to be decided, but the band have as good a chance as any other band out there doing the same, due to some care in the songwriting department. Overall this is an album that may leave some fans undecided, with a few tracks that could be considered filler. But the majority rocks and the production quality helps deliver their message in a positive way.
|
|
Once And Future King Part One |
Frontiers Records FRCD 161 |
|
|
The work and time that has gone into writing and recording this double album set is easily evident. For fans of Gary Hughes, Ten and his work with other artists, this is an absolute must have release. It also offers plenty for newcomers and general melodic rock fans. I must say that I am no big fan of concept albums and/or rock operas, but this album is something a little different. There are not too many such releases I can think of that allow the listener to take any given song out of the flow of the album, allowing it to be enjoyed on it's own. But each and every track here - and indeed on Part 2 also is enjoyable on its own. The production quality is nothing short of superb, the songwriting is obviously first rate and the backing from the guys in Ten perfect. While there are parts of the album that naturally sound like Ten or a Hughes solo project, there are other parts that are completely different and offer the listener a new experience. Best of all, much like the debut solo album from Hugo, Gary Hughes has put together music and performances that bring out the best in the guests involved. The story is of King Arthur and the myths behind the legend. It is told through a series of songs spanning two separate albums and guest vocalists playing the parts of various figures involved in the story. I'll leave the rest of the details for those that buy the album and read through the excellent and rather special liner notes and CD packaging. Damian Wilson (Threshold, Ayreon) opens the album, with a traditional uptempo European rocker titled Excaliber setting the scene. Gary Hughes is up next on Dragon Island Cathedral, another rocker which sees the album's author performing on a track pretty close to the style we have come to expect from him which mirrors early Ten. New Ten guitarist Chris Francis gets his first chance to shine, doing an admirable job. Lana Lane duets with Gary on the next track, which is an enjoyable haunting ballad. The Reason Why sees Danny Vaughn at the mike for the first of two tracks. Following the mood of the ballad before it, this track is all atmosphere and builds during a solid chorus and continues to do so as the song progresses. Great to hear Danny singing such a style, which he handles with ease. Irene Jansen (Karma) is the second female lead vocalist featured. Shapeshifter is a dramatic and somewhat bombastic pomp rocker, which changes the tone of the album and adds some impressive variety to the line up of songs. Bob Catley, playing the role of Merlin appears on the first of two tracks on King For A Day. This is a typical Gary Hughes written Bob Catley tune, which is a dark mid-tempo rock track with an epic chorus will appeal to fans of Bob's first few solo records. Another typically flawless performance by Bob. Stand out track of the album is the second track featuring Danyn Vaughn. This is melodic rock at its very best and is reminiscent of classic Tyketto. Avalon is a classic feel good uptempo pop rocker. One of the tracks of the year to date. Diamond Head/Notorious vocalist Sean Harris appears on Sinner. Great to hear his voice again on this track, which is another mid-to-uptempo moody rock track. Bob Catley returns for another dramatic and slightly epic track In Flames. Lies closes Part 1, with Gary Hughes, or King Arthur himself, on lead vocals. This track is a mid-tempo moody track, with another memorable chorus. Another classic Hughes number, this one offering fans a lot to like. And that is the body of Part 1. A little of a departure for Gary Hughes, but there's certainly a lot of familiar elements also present. Part 2 offers a little something different again, but the two albums piece together perfectly. Part 1 is comprised of simpler more direct songs, with some fine catchy melodic hard rock tracks for fans to appreciate.
Together they highlight the brilliance of Gary Hughes the songwriter and producer, while giving the guest talent enlisted, something very positive to put on their resumes.
|
| Shakra Rising | Point Music |
|
|
Swiss rockers Shakra are back for studio album number four, complete with new vocalist Mark Fox. I don't think Fox is as good a singer as Pete was, but the band hasn't skipped a beat musically. This is the same high-octane European melodic hard rock that won the band much acclaim previously; now though it features a vocalist with a raspier voice. What I love about the band's albums this one included - is the production the music is pretty simple classic hard rock, but it's always executed with real attitude and passion and the band's albums all sound so good. A nice even mix, with guitars clearly dominating the record. Like an early version of Gotthard, these guys rock hard and combine great guitar riffs with memorable choruses and song melodies. Bu there is no point rocking out and impressing fans if the song itself doesn't stick in your brain. Thankfully Shakra know a good song too. Rockers Now Or Never, Done Me Wrong, Rising High and Little Stories all impress, while I Will be There and Anything give the album that required change of pace. Elsewhere, it's all rock n roll!
|
|
Britny Fox Springhead Motorshark |
Spitfire Records SPT 15105-2 |
|
|
I was quite looking forward to the new Britny Fox album, even though I wouldn't consider myself a diehard fan. The band's first couple of records were good examples of US melodic metal before original singer Dean departed.
With new singer Tommy Paris, the band recorded a third album before walking away. In 2000 they reformed and released the rather good Long Way To Live concert album. That's what sparked my renewed interest in the band along with thoughts of what they could come up with in the studio. Sadly, I feel the result is largely disappointing. The band for whatever reason has decided to take the musically brave, bold and adventurous route, recording an album of songs that is directly in opposition to their usual style. To successfully navigate this route, you need great songs and a fan base that is willing to move with you. Neither is the case here. It's ok to update one's sound and try and appear more contemporary, but after a 12 year wait, I can't imagine many Britny Fox fans that would want anything other than a slamming hard rock record. This ain't it. Listening to these songs it's hard to imagine who this will appeal to. I'm sure there are plenty of Fox fans that will love some moments, but not the album as a whole. There are several problems. Several tracks are amazingly short 2.5 minutes, while there's another track that's an instrumental and another that's only a 1 minute guitar interlude. Furthermore, the lyric/vocal content on this album is minimal. Some tracks only have 10 and 12 lines of lyrics! The band is relying on the music to do the talking, but it's far too diverse to succeed. The opening track Pain is a crunchy heavy rocker with a solid riff it certainly gets things off to a positive start. While second track Freaktown is catchy modern rocker, it has some annoying aspects to the chorus melody. TLUC is fairly sparse lyrically, instead relying on the music to carry it. But the song just isn't strong enough. No big hook or chorus to sink one's teeth into. LA is another track that has an interesting Beatle-esque piano verse, but launches into a simple and rather dull chorus. Another question for the band - where are the hard edged guitar tones of previous records? Where are the solos and the big riffs? The title track instrumental is an instant skip for me, but at least there's some guitar soloing in there. The acoustic, uptempo pop ballad Is It Real is better catchier and features a better chorus. Far Enough gets heavy finally, but I really don't think the lead vocals are very strong at all. Lonely Ones is another about-face pop ballad. Interesting and more memorable, it's one of the better album tracks. Memorial is another stronger track, with a tougher guitar sound, but still no big hooks. Sri Lanka continues the stronger guitar approach, but is bland in places and bizarre in others. I have no idea why it has to run over 8 minutes in length.
Regardless of the direction chosen by the band, the songs themselves are not memorable. And I seriously have to question the thinking behind the style change. Yes, this is 2003, but to Britny Fox fans, this is the follow up to the band's last album in 1991. Additionally, while energetic, the 3 bonus videos are only in Real Video format and are not the greatest of quality.
|
|
Newman Sign Of The Modern Times |
Escape Music ESM090 |
|
|
Steve Newman returns with his first album for 3 years if you don't include the shelved Butterfly Tattoo album. Joining Steve is Pete Jupp and Mike Brooks, with producer Peter Coleman adding his input. Pleasingly, despite the 3 year absence, Newman returns, picking up where he left off with some notable improvements. First of all the songwriting has matured further. There is more emphasis on a memorable hook and stronger choruses. There is also another dimension to the performance. The album is same pure melodic rock with touches of English AOR that the previous album shave offered, but has added attraction of a tougher and more direct approach as the album as a whole is more guitar driven. Keyboards are given their usual prominent role in the mix, but the heavier guitar tone and Steve's strong vocals are what drive the record. The urgency of the opening track Save Me Tonight is evident. A verse-bridge-chorus setup is always popular and the hooks within this track make it one of Newman's best. Following that is arguably the best track of Newman's career. Last Known Survivors is precisely why fans buy these kinds of records - moody verse, solid guitar riff, a change of pace for the bridge then a big feel-good chorus. Great stuff! Elsewhere on the album Masquerade is a great moody mid-tempo track, You Should Be Gone and Heart V Desire are both classy examples of the melodic rock genre and the ballad Watching You is a classic slice of British AOR.
Great performances all round are enhanced by a crisp and even production. The only way I can see Newman getting better is if every chorus was as strong as the opening two tracks then he would be unbeatable.
|
|
Pain And Passion Don't Think Tomorrow |
Escape Music ESM089 |
|
|
Sweden's Pain And Passion are a hard bunch to describe. A little progressive, a little alternative, mostly dark and a little dramatic. Musically, the band is a long way from the AOR/melodic rock style of what Escape Music are best known for. These guys are on the heavier side of the rock fence, with their brand of Black Sabbath inspired riffing possibly appealing to some. They may be hard to describe, but they are harder to enjoy. The blame lies mainly with singer Bjorn Asking, whose shrill uptempo vocals grated on my ears from the first verse. And the songs are not that memorable. Aside from the uptempo If I'm Not There Tomorrow, Get Ready, the swagger of Won't Tell You Anyway and the blues of A War Within, the rest of the tracks remain slow to mid paced and feature no strong hooks or choruses that give the listener something to grab on to. But even if the songs were all consistently great, you still have to get past those vocals.
|
| Mark Spiro King Of The Crows | Atenzia Records ATZ 02008 |
|
|
As many know, Mark Spiro has a long history as a songwriter, but a shorter one as a solo recording artist.
He has recorded 5 previous studio albums, over 15 years. This is number 6 and sees no great style or direction change. Through his career, Mark has wavered between high-tech poppy AOR and smooth Westcoast to singer/songwriter pop. Spiro could sing just about anything and make it sound convincing, thanks to a large catalogue of intelligent and catchy songs. For King Of The Crows we get a hybrid of the singer/songwriter style and a commercial Westcoast vibe. Not a lot of uptempo AOR or melodic rock this time around. That's going to be neither here nor there for devoted fans, but those on the outer rim might consider previewing the soundbytes before purchase, as I don't think this album will have the appeal in this market over that of the more AOR styled Now Is Then, Then Is Now, which I think remains his best album. The songs of King Of The Crows are all very similar smooth slow to mid-tempo pop. Guitars are by Tim Pierce, meaning that particular aspect of the album is fabulous! The rest is performed and programmed by Spiro himself. Very talented, no doubt, but my main problem with the album is that programmed feel. Great to see the inclusion of Julia, a track co-written with and previously demoed by John Waite. It has the feel of a recent era Waite track. Elsewhere, two of the album's finest moments are the title track and the ballad Always, both co-written with Pierce. Also recommended is the fine AOR of Saving Grace and the pop anthem After You.
Essentially, it's a very smooth slice of Westcoast/pop, with a few AOR moments.
|
| Richie Kotzen Change | Frontiers Records FRCD 160 |
|
|
Richie Kotzen is such a diverse artist who has been around long enough now and made enough albums that you can probably pick and choose which ones you prefer. With Change I think Richie has delivered a little bit of everything that has come previously. This is a varied, but very enjoyable album. Above all, it's melodic, packs a good rock punch and contains some great songs. Where it rates amongst establish fans will be down to personal choice, but for newcomers, this is as good a place to start to sample the man's talents. Forever One is a hard rocker with a modern edge, Get A Life is pure melodic bliss that would have sounded right at home on the last Mr. Big album and Change is a pretty acoustic pop song. That's just the first 3 songs! Don't Ask is another melodic rocker that Mr. Big would be comfortable recording, Deeper is a soulful little funk pop/rocker, High is a good ballad and Good For Me is a slow bluesy rocker. Also included is an acoustic solo version of the Mr. Big hit Shine and an acoustic version of the ballad High.
|
| Kiss Kiss Symphony - Alive IV | Sanctuary Records SANDLI95 |
|
|
A lot can be said about Kiss and what makes them tick, not to mention their well documented and obvious love of money and the ways it can be made. But such a release as Kiss Symphony brings us back to the music and gives us cause to contemplate just how they built a legion of fans. How? Great music and Alive IV showcases those classic hits in a way even Kiss had not yet done. This double live set was recorded in Melbourne, Australia with the Melbourne Symphony Orchestra. Separated into three acts one with the band only one acoustic set with a Symphony ensemble and the final set with the full orchestra the concert takes in all era's of Kiss tunes, concentrating mostly on the early years. Tommy Thayer steps in for Ace Frehley, but otherwise the line up is original. And as expected, Kiss put on a hell of a show. These guys really put in extra for this one-off show, giving an inspired performance even skeptics like me easily can appreciate. The acoustic set is cool, but the main orchestra set, which covers the most songs is truly awesome. It's hard to pick out favourite songs that can be left to fans and their personal tastes, but needless to say, the audio and mix is first rate. The DVD is even better the visual footage is nothing short of fabulous and a lot of fun to watch and hear.
|
| Danger Danger Rare Cuts | Low Dice Records LD20066 |
|
|
Rare Cuts is a long awaited compilation of outtakes and original demos submitted by the band for their self titled debut album or in other words, the demos that got them the deal with Sony Music. Naturally, that means that Ted Poley is the vocalist featured here. Considering the age of the tracks and their demo status, they sound surprisingly fresh. It's fun to hear tracks like Bang Bang and Feels Like Love in their original form, not to mention a few rare tracks like the party anthem Loving' A Girl Like You, the uptempo Hold On Maria, and the big moody ballad Temptation (covered by Y&T). This is one for fans of Ted and other Danger Danger die-hards. It's all a bit of good fun, but after two archival releases and a Live and Best of collection still to come, I say get back to the studio for a new album with Paul Laine. The last two Danger Danger albums with Paul have been genre topping gems and the time taken between those albums and whenever the next one will appear is just far too long.
|
|
Michael Schenker & Pete Way The Plot |
Majestic Rock MAJCD005 |
|
|
The name of this project clearly indicates the discovery of something guitarist Michael Schenker has clearly lost in recent times. One could only hope so at least. I am not sure of the whole story behind this release it has the feel and look of an album long lost and only recently re-discovered, but apparently this was only recorded last year. The band features Schenker's former partner in UFO Pete Way on vocals and bass guitar, with Jeff Martin rounding out the trio. It's a very loose collection of songs that sound like they were recorded in one take over a couple of days, with little overdubbing or polishing. The production is below average, but like I said, it sounds pretty stripped back and raw. That's ok, but the songs have to have a certain character to be able to get away with that approach. Thankfully, that they do. The 12 tracks of The Plot are all loose, uptempo rock-n-blues, with a slightly hurried punky edge to them.
The cover art and CD packaging is pretty awful. It certainly adds to the impression this is some half-assed project that has been dusted off and released on the cheap. Worthy of investigation for fans of Schenker, Way and UFO.
|
| Cheap Trick Special One | BIG3 |
|
|
Cheap Trick's new album comes some 6 years since 1997's self titled album and after several months of changing release dates. Was it worth the wait? Yes. Is it a classic album? Not quite. The Trick stick to what they do best on Special One, producing their own brand of feel good guitar driven power pop/rock, with signature quirkiness intact. There are some classic moments on this album. But there are also some disappointments the main one being the overall pace of the album, it's very laid back and quiet soft in the scheme of things. It's an aging and maturing Cheap Trick in places, but on the opening barnstormer Scent Of A Woman proves the band could have rocked more given the desired to. The album is quite eclectic and varied, with a solid ensemble of tracks. A couple of songs are as heavy as you could possibly imagine this band being, while elsewhere, they are as soft as a wet tissue. The only issue against total enjoyment is the lack of uptempo numbers style aside. Track by Track: Scent Of A Woman is a cracking feel good rocker that goes right back to the heart of what makes Cheap Trick special. One of their best tracks ever in my opinion and a sure fire hit had it been released in any other decade. Might even be some hope for it in 2003! The tempo drops immediately for track two - Too Much. Despite the tempo drop, the song works really well here and is a great feel good mid-tempo pop track that would have been right at home on singer Robin Zander's solo album. Another possible radio hit. Special One is a very moody, very slow track that takes some listening to before it can be appreciated. Another interesting track unlike anything else around right now, but one that does slow the pace of the album right down. Pop Drone is another slow to start track, but once it's going, it at least picks up the pace a little. The track is very dark and moody and features a laid back chorus and several layers of instrumentation. My Obsession is another uptempo number that comes just in the nick of time. This is another sweet, feel good pop track and another that fits the Zander solo style. One of the album's most instant tracks. Words returns the album to a slow tempo. This is a pretty simple pop ballad that doesn't do a lot for me. Sorry Boy is possibly one of the heaviest Cheap Trick tracks ever. Very dark and guitar heavy, even if the pace is slow to mid-tempo at best. A musically challenging track. Best Friend is a cool angst ridden track that starts slow and builds. Another very dark and moody track. Zander really puts everything into the vocal. If I Could is a mid-tempo pop/rock track that features a stronger chorus than the last couple of tracks. Continues the moody vibe of the album. Low Life In High Heels and Hummer are basically the same track - sadly. One is 2.50 in length and the other 4 minutes. I am not sure why the two songs are broken up by a 2 second gap and two titles. The songs are largely instrumental and feature only a few vocal lines. The tracks have an interesting groove, but don't finish the album on a high note.
|
| Queensryche Tribe | Sanctuary Records |
|
|
I have never been a Queensryche fan. There I've said it. I can almost hear the stunned silence. They just don't do a lot for me. But I have heard each and every album and can see why so many do love them. They are certainly one of a kind. Tribe sees the band re-unite with guitarist Chris DeGarmo. Fans across the world held high hopes for this album and I think it's ok. Yes, it's certainly better than the last couple, which seems to be the view of most fan comments so far. But it still fails to reach any new heights and as far as what I can hear, the return of DeGarmo hasn't resulted in any major difference in the band's recent sound. I found the album to be fairly laid back not overly heavy and more akin with the band's most recent output. As far as analyzing the album, for the first time I decided to call in my good mate Mick Ward, who is a long time 'Ryche addict. I feel his review is an excellent reflection of the album, right down to the mark he awarded it. So I'll run his full review and agree with the score, which is now the official Melodicrock.com rating! The following are his words feel free to add your own in the interactive reviews section . In my opinion, when talking things Queensyrche, there are 3 types of fans. The purists of the early days, up to and including Mindcrime, who have long since moved on choosing to ignore everything since, and for some, including, Empire. The long time devotees of the Ryche (this is me), who have (and on occasion reluctantly) persevered with the band regardless of their output since Mindcrime, and the Queesnryche fans who don't give a toss about history and judge each release independent of the last. It is these fans, the ones who have loved either Hear in the Now Frontier or Q2k who will lap up Tribe without second thought. Understandably, I am confident the early year purists will choose to avoid Tribe. For those of you like me, don't despair; there is light at the end of the tunnel if you are prepared to take the walk! Of those of us who have followed the comments made by the band members leading up to the release of Tribe, I think it's safe to say that most, myself included, have been overcome with anticipation. I dare say a few of the early year purists were fuelled with anticipation also, especially when informed of DeGarmo's return. Unfortunately, after my first listen of Tribe, I feel it more appropriate to say that you, like me, may have fallen victim to the hype. Let me explain. A while ago on Queensryche.com Tate made the comment, referring to the recording of Tribe, that the band was in the process of making the most intense album since Operation Mindcrime. Misleading. To the listener, this is not an intense album. For whatever reason, DeGarmo returned for writing credits, and from what I believe the recording also, of Tribe. Wrongly or rightly I gained the impression that this would mean a return to form, and quite possibly a return to Classic Queensryche. Unfortunately this is not quite the case. In a nutshell Tribe is a combination of Hear in the Now Frontier and Q2k. In fairness I would go so far as to say that it reflects the better songs from both of these previous albums. Tribe also has a familiar vibe to that of Promised Land, the majority of the songs being similarly paced throughout the album, and quite dark in both lyric and music (check out 'Blood' for dark lyrics, I'm guessing this one's about the recent war on Iraq.). I find this dark sound a good thing, as the songs that are the exception to the rule, 'Losing myself', 'Falling behind' and 'Doin Fine' are, to my ears, the weaker songs on offer, their chirpiness and attempt at being uplifting feeling somewhat unnatural and forced. But on a good note I also believe this to be a better album than either Hear in the Now Frontier or Q2k. I'm interested to see how the buying public responds to Tribe, as lead track and first single 'Open' is quite a good song and the obvious choice for lead single. One of a number of DeGarmo co-credited tracks, 'Open' has grown on me to the point that I rate it as the best Queensryche song I've heard since 1994's Promised Land, and I am satisfied this is as good as most of the songs on that very album. A big fat heavy rhythm with lush vocals. This is modern day Queensryche at its best. Given the right promotion it could fare well. Unfortunately I doubt that the remainder of the album will satisfy the average buyer who expects, after hearing 'Open', that everything is 'Ryche' with their world again. This problem is mainly attributed to poor track listing. After the fine opener we a force-fed track two, the horrible 'Losing myself', reminiscent of the 2002 Tate solo album. This is a poor song so early in the album. Michael Wilton stated recently on MusicInsight.net that Tate had been bringing music written by his solo band to the floor, and that he (Wilton) was not amused, going so far as saying the songs were, put politely, NOT worthy of Queensryche. (Good on you Michael for standing proud!) And here's the evidence, 'Losing Myself', written by Stone/Tate. Those early year purists, and maybe others, who out of 'curiosity' give the album a listen, I can see walking away after only track 2 without listening any further! It's not a terrible song, and if included on the Tate solo album would have been one of the better tracks, it's just, as I have no doubt Wilton would agree, NOT a Queensryche song. And on the issue of track listing, after track three we get three slower tunes in a row. Why - there are heavier songs to come so why not mix it up a little? Let's move on shall we? The title track 'Tribe' is quite interesting, very like 'Disconnected' from Promised Land, but with a stronger chorus, although the chorus did take persevering with before I got it. I now really like this track but would not be surprised if it is the least favourite for some of you. I love 'The Art of Life', and believe this should have been extended by another few minutes and closed out the album. (No traditional epic closer here people, instead we get a little happy ditty that I think is quite poor). 'The Art of Life' has the smallest saxophone piece you're likely to hear, a sound, blow, hoot, blast or two and nothing more. It's a shame as I for one would have liked to have heard a full-blown sax performance. The song has Geoff talking through the verses, and the chorus more than makes up for lack of vocal. A slow, brooding, dark, and damn fine song. I also have to comment on 'Rhythm of Hope', an acoustic-come-epic track, with a fine melody line in the verses from Tate. But I feel the guys (no DeGarmo here) have gone for too epic a chorus. I would have liked a little less come chorus time, as they say, less is more, right? Otherwise a very strong song. Whether it's me being starved for some new Ryche, and some harder Ryche at that, or whether I'm easily influenced due to my passion for this band, I am quite taken with Tribe and am enjoying it more a more every day. My three favourites are 'Open', 'The Art of Life' and 'Rhythm of Hope', no,' Tribe', no, sorry I can't decide! I can't comment on the packaging as I haven't seen it, but from what is displayed on the net the packaging looks good, and will hopefully go to create a more complete album, which would be a good thing. I can't urge you enough to throw away all your expectations and disregard the hype, then give this album a decent go. Work with it for a while before concluding one way or the other, as you may need to give the album some initial effort. If it pays off for you like it has for me, it will be well worth it! PS; For the record I loved Geoff's solo album, and rate Tate as the best vocalist, period, regardless of the fact that his range may be diminishing; we all get older people! Also for the record, my favourite Queensryche albums are Empire and Operation Mindcrime. So there!
Low marks for: Delivering an album of total running time, a mere 42 minutes. For a lack of (almost total absence of), guitar solos, which brings me to my next point For choosing to make an album which (although I'm am very into right now), is an album I would still regard as a bit of a yawn, when the opportunity to really push the envelope again was there for the taking (particularly with metal being healthy again, prime example: Maiden). And of course failing to live up to the hype, which, might I remind you, was brought about by Queensryche.com and certain members themselves.
|
| Brazen Abbot Guilty As Sin | SPV 085-74902 |
|
|
My main point with past Brazen Abbot albums has been that the use of multi-vocalists has broken the album up, where just one vocalist could have given the album a more consistent flow. With album number 4, Nikolo has stuck to the vocalist formula, bringing back Joe Lynn Turner and Goran Edman, but adding the powerhouse Jorn Lande into the mix. The formula might be the same there, but the result is a little different. It's immediately evident that the quality of the songs and the performance by the all start band (John Levin, Mic Michaeli and Ian Haughland) are an improvement over the past albums. These are the strongest set of songs Nikolo has presented to date and the album is easily Brazen Abbot's best. The production is first rate, big and epic when needed and stripped back when needed. And the song choruses and inner melodies are more engaging than the already solid previous albums. Track By Track. One Life To Live is typical Brazen Abbot uptempo, in your face and 100% from the Rainbow book of hard rock, with Joe Lynn Turner putting in a strong vocal performance. The production quality is immediately evident and the album gets off to a fine start. Eyes On The Horizon is the first BA track to feature Jorn Lande. As expected it's a monster and is every bit as good as Lande's other recent work. He sounds right at home with the band and with the material on hand this being a big, fast tempoed, hard rocking track. I'll Be Free is a beautiful soft ballad with Goran Edman in fine, sweet touch. JLT is back for Slip Away, another upbeat, epic sounding rocker that features one of the album's most immediately catchy chorus hooks. Joe sounds fabulous and dare I say for fans of Joe's, it's one of his best tracks ever. Mr. Earthman sees Jorn Lande at the mike again. Another quality vocal is a given, but wow, this is another uptempo hard rocker with a monster chorus and some fine harmonies. Another album highlight. Like Jonah is a Goran Edman fronted track. Remaining uptempo, this track is a little softer then the few before it, but still manages to feature some epic organ and guitar work and another catchy chorus. The middle section features some outstanding guitar work. Bring The Colors Home features Jorn Lande again. And wow, another fabulous track. This time we get an epic hard rock ballad straight out of classic Whitesnake territory. Some fine harmony vocals and superb wailing from Lande makes another clear cut highlight. Fool's Confession features Goran Edman. This track has a Queen style pomp feel to it, which doesn't match the rest of the album, but fits in well thanks to the consistent production and acts as a cool change of pace for the album. Supernatural sees JLT back for track number 3. This is a light rocker with a mid to uptempo pace. Not one of the album's best tracks, but solid. Time for another ballad and Goran Edman is the perfect choice for the AOR track Eve. An all acoustic ballad, the track is ok, but not as strong as the earlier ballad. After a couple of weaker tracks it's time again for another Jorn Lande track. A Whole Lotta Woman sees the tempo picked right back up again, with another Whitesnake/Rainbow style rocker. Guilty As Sin closes the album with a moody mid-tempo number featuring JLT. Although there's no big hooks, the track remains a good choice to close out the album.
|
| Thunder Shooting At The Sun | Frontiers Records FRCD 164 |
|
|
Review re-feature. Shooting At The Sun is released throughout Europe via Frontiers Records August 25. Added are three bonus live tracks and a video. I am a long time Thunder fan, right from the debut single of their debut album. But I wasn't so happy with the band's last couple of studio releases, nor the side projects that followed those. Not that they were bad releases, just not in the style that I most enjoyed of the band. So a Thunder re-union was announced although impressed, was still unsure what the result would be. The first release EP was great and any further doubts were erased with the opening track off Shooting At The Sun. To cut straight to the point, Shooting recaptures the sound, the energy, the style and the essence of the band that were present on their essential debut and the very good follow up Laughing On Judgment Day. Track By Track: Loser is the ultimate opening track. A thumping beat, a hard guitar riff and those vocals! Loser is darker and heavier than the band have been since the debut and aside from an updated production sounds like it could have come from that album. A great heavy rocker. Everybody's Laughing is representative more of the sound of the later years, but contains the hooks and melodies I couldn't find as easily in those releases. If I Can't Feel Love is a typical Thunder semi-acoustic ballad, drenched in organ and that soulful rock sound the band portray with ease. Shooting At The Sun starts slow and builds to a harder rocking chorus with another good hook and the feel of their earlier work. The Pimp And The Whore was featured on the EP and is nothing short of classic uptempo Thunder. A Lover, Not A Friend has a retro rock feel. It's a slow to mid tempo rock song that builds towards a rockier finish. More strong lead vocals and some fine organ work. Shake The Tree again starts slow and builds in intensity. Not as strong as some other tracks, but ok. Somebody Get Me A Spin Doctor is another album highlight. Featured on the EP late last year, this track just keeps getting better, with a killer chorus hook and some wonderfully satirical lyrics. Also sounds like the Thunder of old. The Man Inside is a bluesy rock ballad with a touch of soul and a good retro vibe. Out Of My Head sounds a little like the retro bluesy style of the Luke Morley solo album, Taylor/Morley sessions. A definite jazzy tone to the song. Cool track with a strong chorus. Blown Away is another typical Thunder ballad. Acoustic as it starts, building to a rockier chorus then acoustic again, always building as the song develops.
The sound is back, the production is excellent and the enjoyment of this album is pure from the opening track to the closer. Welcome back guys!
|
| Eric Martin Pure | Frontiers Records FRCD 159 |
|
|
Frontiers Records continue their relatioship with Eric Martin, makign this Japanese only EP available throughout Europe at a more reasonable price. Eric Martin celebrates his current band tour of Japan with an exclusive release for that territory. Pure contains 8 tracks - all acoustic versions of past hits and a bonus Video for the track Fly. The unplugged nature of this collection of songs - recorded this year - is cool. It's the full band brand of unplugged, with acoustic drums and bass accompanying the commonly used acoustic guitar. Pure covers hits from as far back as the original EMB release Sucker For A Pretty Face, through to the recent solo album (Bigger Man), the last acoustic friendly album Somewhere In The Middle (Kisses Stain), the debut solo album (Pictures) and his time with Mr. Big (Promise Her The Moon and the very cool Big Love). The new version of Fly is in tune with the rest of the EP - it's a full band unplugged version, taking the song back to it's original roots.
The stripped back nature suits all the songs - an indication how they were all originally written. A classy release with top notch production. Bravo that you can now get it at a reasonable price.
|
| Doc Holliday Best Of The 90s | MTM Music 0681-76 |
|
|
My first thought when announcing MTM had singed Doc Holliday was why? I'm still not sure, as the band doesn't really fit the genre of other releases on the label, or other melodic rock labels. That's not to diminish the quality of their music Doc are a good old fashioned southern rock band, with one step in rock n roll, the other in a cowboy boot. The band have an extensive history, dating back to their 1981 debut. Their last album was A Better Road, another compilation (of unreleased tracks) in 2001. This CD compiles the band's 'best' tunes form the last decade. Included are a few new tracks which are the stand out tracks for me. The rocker Never Another Night and the slow ballad Love That Burns show that an album of new material might be something to look forward to. There are three 2003 remixes of past tracks and the rest are ok album tracks. This is not for melodic rock or AOR fans, nor for heavy music fans. It's a very factional release. If southern blues rock doesn't do it for you, there's no way this will!
|
|
Tim Feehan Tracks I Forgot About |
MTM Music 0681-75 |
|
|
I count myself as a Tim Feehan fan, owning the essential Full Contact and the almost as good Westcoast stylings of Pray For Rain. If this is you too then you need this CD! This is Tim Feehan at his uptempo AOR best, with a selection of tracks that were never released. I think the opening few tracks are ok, but it's mid and late into the album where things warm up and the best material is found. Don't Need An Invitation features Jason Scheff, Temporary Insanity features Bruce Gaitsch and Call Of The Wild features Mike Reno but cheekily, it's only in a backing vocal role. If you haven't previous bought a Tim Feehan record and you are into the likes of Stan Bush, you should check this out. However, there are a few points that should be made. As much as I enjoy Tim, this stuff is a little dated now and firmly planted in the middle 80's period. There are also a few fillers here and the majority of tracks seem to be performed by Tim only, meaning there is that programmed feel about the record that might turn some prospective buyers off.
|
| Lynch Mob REvolution | Deadline CLP1283-2 |
|
|
The last Lynch Mob release Smoke This was one of the worst album's I have ever heard. My review was not kind. Its 2003 now and the guys are back together (for now), with vocalist Robert Mason joining Lynch, Anthony Esposito on bass and drummer Michael Frowein. No new material here however this is another Deadline Records release, so you can expect only remakes or covers. Here we have both remakes of Lynch Mob's favourite tracks and covers from Lynch's other band, Dokken. All of the songs have been completely updated. Liking this album will go to personal tastes and whether you can accept Lynch re-recording his old Dokken tracks. The production is much rawer, tougher and has that modern, loose, punky vibe in places. It remains a fair jump from the original sound of the tracks, but thankfully a jump in the right direction compared to the awful Smoke This record.
|
| Empire Trading Souls | Lion Music LMC074 |
|
|
The new (second) Empire album features a new line up and new singer, the well known and very experienced Tony Martin. Again, it has been out a few months and is overdue to be reviewed, but here we go. Tony certainly sounds in good form, giving it his all, although I have heard him sing better and more powerfully over the course of his career. The style here is typical straight forward European hard rock. The album's production is very good solid and even throughout and the songs are strong enough, but maybe not as engaging as some other albums in the same genre. It's been a strong 18 months for European hard rock, and while there is nothing wrong with this album, there isn't a whole lot amazing here either. Tony Martin fans should grab it without question, you will enjoy his always pleasant vocals. Fans of the debut album, or at least those that purchased it will find a stronger effort here in all departments production, songwriting and performance. But considering Neil Murray, Don Airey and Rolf Monkes are also part of the group, maybe the tunes should be a little more memorable.
One for fans of Tony Martin and European melodic hard rock.
|
| New Machine New Machine | Aeria / Song Haus 55030-2 |
|
|
This album has been out some months now, but the guys are re-promoting it, so now is as good a time as any to review it. The band is a two piece unit David Garcia and Bob Gilmartin. They really have quite a distinct sound. A little progressive, a little pompish and a little classic hard rock. It's not an album easily dissected, but is well produced, well recorded and despite the band only being a two piece, it doesn't sound too programmed or studio bred. I can see progressive fans getting the most out of this Dream Theater and Queensryche coming to mind most readily. Fans of Phantom's Opera should also investigate, as this album features the same quirky edge they are famous for. Most pleasing is the attention to melodic detail. Only the last track clocks over 5 minutes in length (well over at 11:22!). Each track holds it's own and contains a strong hook that identifies it from the pack.
|
| Waltham Permission To Build | Indie |
|
|
It's not to often that an album comes totally out of the blue and knocks me on my ass. Normally an album is expected or anticipated, but having only just been made aware of Waltham, I had no idea what was coming. But one listen to these guys ensures they won't be forgotten! Yes, this is essentially a melodic modern rock (or nu-breed) style release, but don't let the tag fool you. You should not allow prior convictions bias you against checking these guys out. This is as melodic as it comes - in any form of music. Waltham have so much to offer and have so much energy and enthusiasm, it's simply impossible not to get caught up in their utterly infectious grooves. These guys have a modern approach to melodic rock, but in all seriousness, they are not that far removed from the classic 80's melodic rock so many of us love and crave. For a band to claim Rick Springfield as a major influence can't be a bad thing. What I love about this album is the fact they really do claim a right to be compared to Rick. So many try, but fall well short. But Waltham to me sound close to what Rick might sound like had he been a 25 year old starting out in the business in 2003. The whole album has this intense wall of guitars that bands like SR-71 and Marvelous 3 have nailed, yet moves beyond these guys with far catchier tunes and a real sense for pop melodies. Permission To Build has a real Rick Springfield Working Class Dog vibe to it which in reality is one of the great pop rock albums of all time. Instead of the standard intro, verse, chorus arrangement, there are hooks inside guitar riffs, melodies inside vocal lines and a real sense of adventurous song writing. Take Back To You for example. The chorus doesn't appear until more than 2 minutes into the song, yet we have already had 2 verses and a separate bridge. It makes life interesting, that's for sure. Naturally, everything is seriously modernized, making this quite simply one of the best modern releases I have ever heard. Rarely have I heard such a consistently catchy collection of songs on one album. Some modern rock acts struggle to change style or tempo, but every track here is different than the last and equally as rewarding. The opening track So Lonely is one of the best feel good pop rock tracks I have heard in years. Utterly addictive and seriously melodic thanks to some brilliant guitar playing and well placed harmony vocals. All I Want is more urgent and has a faster tempo, more akin to the current SR-71 album, but features a huge anthem chorus and several more layers of guitars. Cheryl just keeps things flowing with more pounding drums and a wall of guitars, with a very strong bridge / chorus arrangement. Don't Say It's Too Late is pure power pop, while Hopeless is another instantly catchy gem with a modern production. Laura is another pure genius track that matches the vibe of Working Class Dog especially closely. The only ballad of the album is Say It Again, which is a heavy sentimental rock ballad. The singer sounds as close to Rick Springfield as I have ever heard. Truly a great voice, which a number of bands these days are missing. I just hope some classic Rick fans will feel like checking this out. Much like Rick, these guys have a penchant for naming songs after girl's names! The pounding rhythm section reminds me of the last Harem Scarem album Weight Of The World, which also featured classic melodic hooks to the beat of a modern production. Waltham's drummer manages to pound the skins in much the same style, with several songs allowing for extra fills.
Move over SR-71 and Butch Walker, a new band has stolen your mantle as the new kings of nu-breed. These guys have completely done my head in with this album of amazingly catchy, uptempo, heavy power pop. If you have been looking for something different - check these guys out. If this doesn't get you into nu-breed, then nothing ever will.
|
|
Joe Lynn Turner JLT |
MTM Music 0681-74 |
|
|
Joe Lynn Turner knows his target audience, his vocal range and is keenly aware of his past. His albums reflect those attributes solid lead vocals, good melodic hard rock and a musical style that suits comfortably with his past efforts in Rainbow and Deep Purple. Recently Joe has found a soul mate in Glenn Hughes and together the two have already made an impression on classic hard rock fans. So with HTP active and guest spots on several other projects including the new Brazen Abbot album, how does Joe add to his solo legacy? By recording his best solo album to date. In doing that, Joe hasn't strayed from the formula of past solo albums which is essentially a blend of bluesy Rainbow/Purple-esque hard rock. Nor has he changed his vocal style or the style of song you will find on all his solo albums. But what he has done is relaxed a little and recorded and album of more melodic and accessible songs. The last album tended to be a little too heavy and dark, but this album is easier on the ears, contains more vocal melodies and sees a more lighter theme. And coupled with stronger songs in general, the result is very pleasing. And for these reasons I rate it his best solo album to date. JLT may indeed attract some new fans with this release, but essentially this will please all those that have listened to and bought past records. In Cold Blood rocks like any great bluesy anthem that is designed to open an album with impact, but contains a really strong melody and strong lead vocal. Jump Start has all the swagger of a track designed to follow the faster paced into and Love Don't Live Here Anymore is a finely crafted ballad that again features a great harmony and strong sentimental edge. Excess is a moody blues epic. The feel good rocker Fantasize picks up the pace just when it was needed and is a strong album track. Blood Fire sounds like it could have been lifted from Purple's Slaves And Masters, while Driving With My Eyes Closed rocks hard and fast. The only track that doesn't really work is Let's Go, which has a thinner sound, weak chorus and sadly lacking rhythm guitar presence.
Don't expect anything new or ground breaking, but do expect a solid dose of bluesy hard rock featuring those unmistakable raspy vocals. It's also great to see Al Pitrelli back to his melodic best, with some fine guitar parts throughout the album.
|
| Pride Signs Of Purity | Point Music |
|
|
Pride's debut album was an extremely enjoyable slice of British AOR, mixing the mood of Dare with the classic melodic rock approach of White Lion and more recent stars of the melodic scene, Guild Of Ages. As with many bands that follow up a debut after touring together, Pride are now getting tighter as an outfit and improving on their chemistry. Signs Of Purity also sees the band with a harder edge and a little more intense. The 11 songs from Pride's second album see the band taking up where they left off, but improving their craft as they mature as a band. To release a debut album as strong as Far From The Edge is unusual, so the guys would have found themselves in quite a difficult position in order to better that album. But I believe they have done just that. The good thing about Signs Of Purity is that you can virtually start the album at any point and find yourself enjoying a strong track with a good melody. What I particularly enjoy apart from the raspy vocal delivery is the melodic guitar soloing, which appears out of the blue in intros, during the song itself and in the traditional guitar solo slot. The album opens impressively, with what really could be one of the year's best melodic rockers. The pure moody melodic rock anthem Could You Believe will rate highly among fans and newcomers alike. A good intro to the album and bridge from the debut. After that though, things get a little tougher. Somewhere, Someway is equally moody and intense, but more guitar driven and certainly a pace above normal tempo. Story Of Our Lives is a little more laid back, but features a punchy chorus, while the mid-tempo rocker It's Just Me keeps the album flowing nicely. Elsewhere Say You're Not Lonely is a first class mid-tempo rock anthem and album highlight, while One Time Around matches the style and mood of the debut album and the album closer Still Raining is a 7 minute plus heavy epic ballad. A little risk taking by the guys pays off. It's a great track that features some superb guitar soloing. Heaven's Waiting is the album's only slow ballad a nicely stripped back acoustic number which gives the album a little extra diversity. Keyboards are added as a supplement to the melody of the album, which suits the songs just fine. Above all else, this is a vocal and guitar driven record.
|
|
Mars Electric Fame Among The Vulgar |
Atenzia Records ATZ02018 |
|
|
The new Mars Electric record is one that might not have happened. Dropped from Sony's boutique imprint label Portrait Records, the band could have easily given up. But adventurous Swedish label Atenzia stepped in and a new record was put firmly on the agenda. Now my tastes have developed a little over the past couple of years to appreciate more modern rock and all things nu. But I still find that many modern rock records feature poor vocalists and songs that really can sound monotonous. So I'm still wary of some artists and Mars Electric were one of them. I didn't rate their debut as an essential release, but due to better songs, a more energetic delivery and a stronger melodic influence, I rate this album far better. While I wouldn't recommend his album to anyone that does not have a taste for all things modern, or those that don't like the nu-breed tag, I would recommend it to those that sit on the border, or appreciate something a little different when it is high quality. Fame Among The Vulgar is high-quality. The production seems a little rawer, a little more in your face and for that matter a little heavier. Rather than appealing to fans of Matchbox Twenty or Rubber like the debut this is better aimed at those into Marvellous 3 or the last SR-71. The opening track Bemused is a terrific melodic modern rock anthem, while Disco King is pure Butch Walker genius. Queen Of Suffering sees vocalist Jacob Bunton opening up his range to great effect and the moody ballad Descend is as good or better than anything on radio today. Elsewhere on the album, Heaven's Gate rocks harder than ever, Did I Say Too Much is pure good fun melodic pop/rock, while Baby's Got a Brand New Life is a melancholy look at the life of Wendy O Williams. Special note for the great mid-tempo ballad Don't Say Goodbye. Another cool melodic and commercial track that really should be on radio.
I like the fact that there is only 10 tracks all classy numbers, with no fillers added to pad out the album's running time.
|
| MSG Arachnophobiac | Mascot Records M 7081 2 |
|
|
This review is not an attack on Michael Schenker's talents, or his impressive body of work. But this album is about as flat and uninspired as you could expect any "legend" to put his name to. The volatile guitarist has long established himself as a ground breaking musician and a performer of immense talent. But his on stage antics with UFO have received more publicity in recent years. His body of work is unquestioned, but when past albums are held up against this album, I doubt any fan could say this was amongst his better records. I have played this album a dozen times at least, trying to make some headway into it, but it's just not possible. This is a dull record. I thought the last album was average, but this is even worse. So I'm bound to attract a few hate mails for this, but seriously folks the average Schenker fan, or melodic rock fan in general is going to find this equally boring. To open the album with a track as lifeless as Evermore shows just how bad things are going to get. Where is the zest? Where is the urgency? Where is the Schenker that ripped on classics like Perfect Timing and UFO's brilliant Walk On Water? Illusion briefly picks up the pace, but the title track is just woeful. And what about the mid-tempo ballad Over Now? There is just no passion or heartfelt sentiment there to cling to. If you make it as far as track 11 Fatal Strike puts the nail in the coffin. As with the last album I find it impossible to warm to vocalist Chris Logan. His vocals are as bland as the music they are put to. And what makes things worse is the production quality. A man as talented and experienced as Mike Varney should have been able to drag a better sound out of this line-up. The recording is stripped right back to base basics which is fine in itself but it sounds like it was recorded in one take and is little better than demo quality in places.
Naturally the devoted Schenker die-hards will see this as a personal attack and respond in kind, but the fact is that Schenker's best days seem to be long gone. He would be better advised to spend a bit longer making his next album, work with a better songwriter and hire a new producer.
|
| Crystal Blue Detour | MTM Music 0681-71 |
|
|
This is an album of pure undiluted, sweet harmony filled AOR. This album took a few listens to get into the groove, but once you do, you will find a very strong collection of Scandinavian AOR. It has an 80's feel to it, but not in the bad dated way. This is a very enjoyable and pleasant album, featuring sweet harmonies and light and fluffy songs. A solid production and crisp clean mix gives the album a commercial feel, which is dominated by guitars and to a lesser extend keyboards. It's been 9 years since the debut album, but this is worth the wait. A few changes have seen keyboardist Thomas Lassar take up the role as new vocalist, but his voice is ideal for the material. It's high pitched in the vein of Joey Tempest, but has a real warmth to it. I though Damage was a great opening melodic rocker, but Back On Track is utterly essential. Layers of harmonies and a killer hook will keep this track on high rotation for some time and a favourite amongst traditional AOR fans. Someone is a pleasant ballad that sees keyboards taking a more dominant position. Move On turns into a real AOR anthem and Never Say Surrender is an uptempo track which keeps the album flowing. Why is a lush ballad and Sylvia ends the album in a haunting, melancholy manner featuring a very strong vocal.
Great to hear a wonderful AOR album that isn't necessarily a Journey sound-a-like.
|
| Zar Hard To The Beat | MTM Music 0681-70 |
|
|
This is Zar's fifth album. Pardon my ignorance, but I missed the other 4. This German hard rock outfit play a traditional brand of European hard rock that fans of Bonfire and the like will be familiar with. The band have changed line-up over the years and this album is mainly the work of guitarist Tommy Claus. Never So Alone features a good chorus hook and Hard To The Beat is a stomping in your face rocker. The big ballad of the album is Hundred Rivers, which is layered in acoustic guitars and features some sweet harmony vocals over the chorus.
A few enjoyable tunes and a great acoustic ballad, but elsewhere, it's just average European hard rock fare.
|
| Autograph Buzz | Point Music |
|
|
The new Autograph is essentially the new Steve Plunkett project as it features no original members of the band that won a lot of heart's in the 80's. The style is also somewhat different than classic Autograph, which readers should take note of. Those points noted, Buzz is still a very enjoyable album in it's own right and is certainly welcomed, as Plunkett has a lot to offer. Buzz sees Plunkett performing his best Def Leppard style high-tech melodic rock. Break A Sweat is an immediate indication of the album's style a big rocking opening track with Leppard style harmony vocals and a punchy chorus. Shake The Tree features a slower pace, but those unmistakable harmonies are in play, as is a short, but memorable chorus. She's The Reason is a sweet feel good mid-tempo pop/rocker with a big Leppard anthem chorus and lead guitar riff. Fed Up With Bein' Down rocks, as does Party Like We Did and Like It Hot. Buzz is a cool mid-tempo pop rocker and Can't Stop Rocking er doesn't stop rocking. The dramatically titled Heart Raper is the stand out ballad of the album, with a memorable chorus. The most notable thing about the whole album is the obvious Def Leppard song/production/guitar/vocal style. It really is that obvious. That's fine for those that were disappointed in X and love a good clone. But for those that loved the slightly more unique sound of the original line up, this may come as slightly disappointing.
|
| Cage Darker Than Black | Massacre Records |
|
|
San Diego's Cage released one of the more enjoyable metal albums in recent times with their debut Astrology. I compared them to Halford, Judas Priest and maybe even a little Megadeth. It was a strong debut but there's even better on offer here. This is ideal for those waiting for new Iron Maiden or for a Priest re-union. This is in your face, sonically charged US metal, with a hint of that European metal feel which will only help widen the band's potential fan base. The best thing about the album besides the super-tight production and even mix, is the melodies present within the guitar work and the lead vocal. No screeching or unwanted wanky soloing here just solid riffs, pounding rhythms and memorable songs. Kill The Devil is a great song, but it gets better. Eyes Of Obsidian is a classic metal track that bands of much more experience would be proud to call their own. Philadelphia Experiment is fast enough to damage ear drums, while the epic 8 minute plus Wings Of Destruction contains some great vocals and some furious riffing.
|
| Circle II Circle Watching In Silence |
|
|
While taking in some good metal, I thought I should run with it and review Circle II Circle. Featuring Zakk Steven's from Savatage, this band is receiving big attention in both Europe and their native USA. And for good reason this a quality release. Just like Cage, this is an essential purchase for fans of all things metal and especially those dedicated Savatage fans. The opening track sets up the album tough, uncompromising and featuring a strong guitar riff/vocal hook that calls the listener back for more. The album has a tough heavy rocking approach, but contains songs that have a more adventurous than average structure - somewhat theatrical I dare say - which I guess Savatage were famous for also. Highly original for sure. For a prime example check out Into The Wind, where the mellower verse gives way to a wicked heavy chorus with a great dramatic vocal hook. Watching In Silence is much the same heavy, but dramatic and contains a few different moods within the one song. And Forgiven is different again. Walls sees the band tackle a ballad with a Queen like pompousness to the chorus.
|
| Ramos Living In The Light | Frontiers Records FRCD154 |
|
|
Guitarist Josh Ramos breaks out on his own and delivers his solo debut with the new band Ramos. Fans of Josh will know him from hs work in The Storm and Two Fires and will instantly be familiar with his love of Journey-esque melodies and definite Neal Schon flare to his playing style. Ramos continues on from his previous two bands with more feel good songs delivered in traditional AOR style, albeit with a little extra punch than we have heard previously from Josh. This is as melodic as it comes, but being in control of his own direction has seen Josh expand the role of the guitar within the songs, making this a tasty prospect for those that like their AOR a little heavier. Singer Mark Weitz is a definite discovery, performing with a smooth and wide range that matches that of Steve Perry and those others that are always being compared to the great vocalist. But once again, not everything is super smooth some of Mark's vocals have an added ingredient that gives the music a grittier edge. Adding further goodwill to this already positive review is the news that the production is very good indeed. Certainly above average compared to many other releases in this genre that suffer from small budgets. The songwriting on Living In The Light first rate with plenty of memorable hooks, choruses and extra bridges to sink ones teeth into. Living In The Light is the prefect opening track. It moves quickly from the extended intro into a big chorus and mirrors the vibe of the last Journey album Arrival. A strong Perry-like vocal and some tasty guitar parts makes this song a sure fire hit. Don't Go offers an immediate change of pace, which works well in this case. This moody rock ballad features some fine piano courtesy of Russ Greene, which is joined by a solid guitar riff and another big chorus hook. Winds Of Change sees the album return to the uptempo feel good vibe of the opening track. This 6-minute plus track really works and is possibly the album's best track, due to the strong vocal and the huge verse-bridge- chorus path. Perfect AOR. Seize The Day continues the fast-paced ride set by the last track. Weitz has a strong Steve Augeri vibe about him on this track, which Journey fans should easily relate to. The Dream Is Alive is the album's big power ballad. Fans of The Storm will adore this track, with another very strong melodic vocal and a soaring chorus. Lighters-in-the-air time. Tell Me Why is another 6-minute plus track. I could live without the haunting spoken-word intro, but aside from that, the slow guitar solo shines, as does the song itself. This is one of the more gritty, harder edge tunes that I spoke of earlier. Lots of guitars, solid chorus and another album highlight. Come Back To Me features some great keyboard work, which lays the song's foundation. It features a solid guitar riff, but the chorus on this one doesn't rate as highly with me. Night Has Fallen is another tougher, uptempo guitar drive track. The chorus is solid enough, but it's more a melodic rock guitar lovers track. Love Is the Magic is a slow AOR ballad that offers a nice change of pace and offers another excuse to get the lighters out. Take It Or Leave It rocks. That's it simple! This track features a great fast vocal over a frantic beat and is one of the more uptempo numbers Josh has been involved in. Another album highlight. You're So Far Away is much as the title suggests a mid-tempo ballad. Without being instantly memorable, it's a solid track. Closing the album is the instrumental track Willie. Again clocking in over 6 minutes, the song features Josh at his best, talking his time to deliver a tasteful slow passionate Schon-like solo. An enjoyable track more so for fans of solo guitar.
|
| Zebra IV | Frontiers Records FRCD158 |
|
|
It took a while to surface and suffered a few release date problems, but at last the all new fourth Zebra album is finally ready for fans to gobble up. Randy Jackson, together with Felix Hanemann and Guy Gelso recorded this album over the last couple of years, finally following up the band's last studio album - 1986's 3.V. So what has changed since 1986? Not a lot which will come as great relief to fans of the band's music. The guys have basically chosen to take up where they left off, with more Led Zeppelin styled classic rock, on a set of songs that were written across a wide range of years. This is classic Zebra featuring Randy's high-pitch Robert Plant style vocals and his unmistakable Jimmy Page influenced lead guitar. Guy and Felix hold it all together with a tight rhythm section that mirrors the great Bonham/Jones combo. Go no further than the hard rocking opening tracks Arabian Knights and Light Of My Love to see what I mean. KK is Hiding is another good Zep like track. In-between things tend to be a bit softer with several tracks acoustic based and featuring a very stripped back production. These songs tend to put Randy's vocals in the spotlight, so you had better be a fan of his style of delivery. But it's not all straight forward stuff. Free experiments a little, while Waiting To Die sees Chillie Willie guest on Sax on this slow, hard 7 minute plus blues number. The closing track Why is an album highlight mixing several layers of acoustic and electric guitars for excellent effect.
Those that are new to the band might not be as immediately convinced, but if you like a taste of classic rock, with strong melodic overtones, should check this out. Those that enjoyed Randy's participation in The Sign will also appreciate this album.
|
| Laudamus Lost In Vain | Escape Music ESM088 |
|
|
A very interesting release this. This Swedish Christian band have been around for 10 years+, but their debut wasn't released until 2000 and this is only their second album. As the record was produced by Ken Tamplin a solid and well mixed sound is guaranteed and delivered. This is a very different record. It doesn't hit you instantly and requires several listens to appreciate. But it's well worth taking that time to listen properly. Having done that you will find the band have their own unique sound, with a heavy European hard rock/ melodic metal sound that is mixed with some more commercial moments courtesy of strong harmony vocals. The choruses are relatively short, but the majority of them contain a memorable hook. Some of the band's sound on this album must be attributed to Ken Tamplin's influence. His style of guitar is certainly there, and those harmony vocals I spoke of are straight out of the Shout songwriters handbook. Jeff Scott Soto performing a duet on the track In The Final Hour reminds me of some of his early Talisman work. Another highlight is Ken Tamplin's deut vocal on the heavy rocker Die. All good things really. Team these attributes with guests spots from Jeff Scott Soto, Marty Friedman, Kee Marcello, Mattias IA Eklundh, Rob Rock, Howie Simon and Ed Roth and you get a very solid hard rocking album.
|
| Faro Dawn Of Forever | MTM Music 0681-73 |
|
|
It took me a while to warm to Faro. The guys sounded a little plain first listen, but I'm glad I stuck with the CD, as repeated listens reveals some solid melodic rock songs. The guy's sound is clearly European, with a strong German flavor in their musical delivery. With that in mind and considering the style of the tunes they write and play puts them into the same category musically as Bonfire and the likes of Jaded Heart. The mid-and-uptempo nature of the album insures that it all flows along nicely, with tunes like Living In Extremes and I Remember proving catchy with the only problem being that I keep hearing the melody for Toto's These Chains within the song. The slower numbers like Coast To Coast and Material World provide a moody change of pace within the album. Incidentally, the band features former Avalon vocalist Chity Somapala. There are times where he compares to a lighter, less raspy version of Johnny Gioeli.
|
|
Michael Sembello The Lost Years |
Frontiers Records FRCD155 |
|
|
It was originally intended that Michael record an all new melodic rock album for Frontiers, but as in life, sometimes things just don't pan out as expected and instead, we have a collection of rare/unreleased Sembello tunes under the moniker of The Lost Years. Sembello of course is a classy songwriter and rather a good singer himself. His projects have ranged from band (Heavy Weather) and solo releases, yet it's been sometime since we had a new record from him. The Lost Years is a collection of tracks taken from various times and consisting of various styles. On a positive note, guests on the record include Jennifer Batten, Jeff Paris, Timothy Dury and Vinnie Colaiuta. Sembello's own music has a range of influences and with any kind of compilation, that varied nature will shine through. For that reason there are some great tracks included here, but also some that fall short and will not appeal to all. The opening track Love doesn't Live Here Anymore is one of the examples of why a full new album would have been very exciting indeed. The track is first rate pop rock with a killer lead vocal. Tear Down The Walls has a more programmed feel to it, but thanks to the wonderful guitar sound of Jennifer Batten and the absolutely electric vocals of Sembello, also rates as an album highlight and a genuinely classy AOR track. The Winter Of Our Love moves away from the style of the opening two numbers into a softer, more laid back Westcoast feel. However, another great vocal makes it another enjoyable track. Black Rain is another soft, but haunting ballad and one of the album's more recently recorded tracks. Heavy Weather is where all things AOR are left behind for a solid run of Westcoast tracks. The tempo of the album remains soft and laid back through the end of the album, with highlights here being the bluesy version of the Jeff Paris recorded The Life Of My Broken Heart and the very smooth Rub The Stone. The pure 80's programmed pop of Burn It Up also impresses. Unfortunately included is a pretty ordinary version of Sembello's classic hit Maniac. This time he's turned it into a jazzy pop ballad.
|
| Royal Hunt Eye Witness | Frontiers Records FRCD147 |
|
|
Another solid album from one of Europe's favourite hard rock acts. No surprise really, as these guys know what they are doing, know what their fans like and know their way around the studio. Studio album number 8 (if you don't include the material on The Watchers) sees the band covering the subject matter of media and what it is "feeding us with". So it's a loosely based concept album. The music of Eye Witness is not radically different from anything else the band has done with second singer John West. The album is not as intense as its predecessor, the very excellent Mission album, but it still rocks with the perfected attitude that will keep loyal fans happy. The fact that each song can be individually removed from the album and appreciated on its own, makes the album more accessible and therefore increases it's chances of appealing to new listeners. This album more than the last couple has that chance. While I prefer the intensity of The Mission and the quality of the songwriting on that album, this album is by no means a weaker album just a little different in its approach. In fact, the production quality on Eye Witness is a little thicker and sonically heavier than previously. The sound is crisp and clear and very well mixed. As far as the performance, these guys are consummate professionals and as expected sound on top of their game - made even better by that really clean mix. And vocalist John West just keeps getting better and better. As far as the songs themselves go, there are no weak tracks. The running time of between 3 and 6 minutes offers some good variety and the fact there is only 10 tracks means there are no fillers. The crunchy rocker Can't Let Go rolls along at a great pace; the keyboard/vocal ballad The Prayer is quite intense; Burning The Sun employs that much loved double kick-drum pace; and the title track Eye Witness is the most epic of the album, running from a atmospheric instrumental intro to flat out hard rocker when it hits the three minute mark. And don't forget the required instrumental - that's track 7, 5th Element. Wicked Lounge is the one track that sticks out as the obviously experimental number of the album. This jazzy blues number features horns and a bar room swagger that will raise some eyebrows. But it works well.
|
| Metallica St. Anger | Elektra |
|
|
When a band is being lampooned in the press for the sound of it's album, you know not all things are going well. Yes, it has become trendy to knock Metallica, as their arrogance in the media over the last several years is largely unchallenged by any rival. The fact is that fans have come to expect great things from Metallica. The band turned thrash on its head in the 80's and were at the headway or legitimizing the music form to a wider fan base. Then the guys about-faced and created one of the biggest ever metal albums in history, with the mega "black" album. That was the band's first venture with famed producer Bob Rock. They have worked with him ever since, as they have done on St. Anger. With a band as big as Metallica there is no doubt that you will find many that love this album - or anything the band churn out. But through the reviews and fan reaction already publicized, it is clear that those that love this album are in the minority. Even worse there isn't just one problem with this album. It's clear where listening to it that there are problems on several levels. The most obvious and main complaint is the sound of the album. It sounds bloody awful. But you can't just say that it has a bad production and/or mix. This is just the production style the band chose. And they should be held accountable for that decision. The fans were looking for something big. Yes, this is heavy, fast and furious and rocks at a pace that 20 year old would be happy to set. But it sounds so bad it becomes unlistenable. It hurts! With a 6 year gap between studio albums and the very reliable Bob Rock behind the desk, it's clear that expectations called for something better than an album that sounds more akin to an indie garage band. Just take a listen to sonic intensity of the black album and enter Sandman, then listen to this. No comparison. So the guys decided to go with this sound - someone should have been there to advise against it - to warn of the consequences. It was a gamble that could have seen the band hailed as geniuses, but it hasn't worked at all. That's what Bob Rock (or any producer) is supposed to do realize this fact and act. He has clearly dented his reputation as a crack producer for being involved in the making of this album. The fact he has now appeared in interviews to justify the sound of this album shows just how deep the resentment goes. Where was the record label in this process? Where was their A&R guy? What did the band spent their advance on? It certainly wasn't studio time. Yes, the Ulrich's drums sound like trash cans, yes Hetfield's vocals sound strained, yes there is no discernable bass, yes there are no guitar solo's - which on it's own will piss off at least 50% of the band's fan base. Lyrics, vocals and style aside, this is a way below average album sonically. You are never going to turn the world on it's head by going this far backwards. Interestingly, the DVD portion of the set features a new live mix of the sound which fixes a few of the problems of the studio version. The drums are more listenable and the songs have a little more life to them. It's still far from their best work, but it does show how important the production and mix of any album is. Crank the DVD and you will find some appreciate of this material.
In anyone's terms, this album has to be a disappointment. When you stack it against the band's previous releases, it just doesn't do the Metallica name justice.
|
| David Lee Roth Diamond Dave | Magna Carta |
|
|
What makes a good album and what makes a bad one? Several aspects of course. As far as bad ones, there are albums that sound horrible, feature crappy songs and bad performances. Then there are albums that feature solid performances and have nothing actually wrong with the songs themselves, but are just dull as hell and feature the artist doing something the large majority of the fan base don't want to hear. That's the case with David Lee Roth's new album of 11 covers and only 3 originals. Those that love everything Diamond Dave has to offer will undoubtedly find something to like here. But the main question that goes through my mind is why? Why do this album? Why would David think this was a good idea after gaining such critical and fan acclaim for his last all-original album, that had the master frontman returning to hard rocking form? Only Dave can answer hose questions. It of course is no secret that Roth loves a wide range of styles and has always been a diverse artist. But he has already done the retro trip. And a quick check of Dave's solo sales history will show that his early rocking albums sold the best, while sales gradually faded as he experimented more. Now Roth is one of rock n roll's great frontmen - no question. He also has more charisma in his finger than the entire population of boy-bands have combined. So why resort to this collection of lounge style covers? Why desert rock n roll for this ultra laid back collection of blues and pop/jazz classics? Why not play up on everything that has made him a rock God and really dive into a new album of original material and follow up the good foundations that were laid with the indie released David Lee Roth Band record? And why not take advancetage of that red hot band of his? More unanswered questions. While there is nothing wrong with the songs themselves - garnered from the likes of Savoy Brown, Jimi Hendrix, The Doors, The Hombres, Steve Miller Band and Billy Fields - in this instance they just fall flat. Even the originals are mainly experimental and fall flat of expectations. In fact, one of them - Act One - is possibly the worst track of the album.
Dave may still rock live in concert and is still a great performer, but if this doesn't kill his career as a recording artist I will be surprised. And as I said in my initial comments on this album, it's the prefect reason for Eddie Van Halen not to call Dave for a re-union.
|
|
Jeff Scott Soto Live At The Gods |
Frontiers Records FRCD149 |
|
|
Everyone should now be aware of the fact that Jeff Scott Soto is a God! If by any chance you have missed him live and seeing one of the most energetic, consummate and charismatic frontmen in rock n roll, then please do your utmost to see either his solo show or a Talisman performance. But if you are geographically challenged, then this is the next best thing. A killer live CD and DVD release, for listening/viewing at any time. The DVD is released separately next month, but trust me, you need both. Most will be aware of Jeff's long career. Why he is not a megastar is simply down to fate not being favorable to him and some poor misguided fools in the industry not waking up to themselves. They will! On this set list, from last year's Gods show, Jeff covers a little bit of everything from his past endeavors and also included a few numbers from his latest solo album, which was at the time, not yet released. Covered is tracks from Talisman, solo and Axel Rudi Pell, together with a great medley of Yngwie Malmsteen tunes. One of the other highlights of the set was the acoustic medley. Covered inside this 5 minute passage of music is Talisman and Eyes and Jeff solo, which run seamlessly together. The way the medley is introduced is brilliant, with a fade out of electric to acoustic guitars implemented by Howie and Gary. Yet another cool track is the Humanimal track Again 2 B Found, which sees guitarist Pontus Norgren guest with the band. Another strong point of the album and the power in its delivery, is the band Jeff assembled. Guitarist Howie Simon can play anything and is nothing short of an amazing live musician. He covers the Axel Rudi Pell, Talisman and Yngwie material as if it was his own. Gary Schutt is on bass and Alex Papa on drums - both awesome musicians in their own right and together with Jeff they form one tight band. An added bonus is the studio track Good Love, taken from the Japanese release of Prism.
|
| No More Johnny Slam! | Kivel Records |
|
|
No More Johnny are the latest band to be added to the Kivel Records stable of artists. This US melodic hard rock outfit will have a familiar sound to fans of some of Kivel's previous releases, as they rely on a dual guitar/keyboard mix, with a strong 80's sound and vibe. While they aren't a hard rock outfit, they aren't wimps either. They are primarily 80's rock, with a mix of melodic rock and pop influences, in the same heaviness range as Loverboy or Foreigner. It's hard to compare them to anyone else, with a sound that includes lots of keyboards, some harmony vocals, an occasional appearance from a brass section and even a jazzy pop swagger in places. The guys have their own sound, which is to be commended and I recommend you check out soundbytes to gauge the exact style. But the guys also have a couple of problems. While the vocalist takes up a dominant position within the band and the album's mix, I don't find his voice overly engaging. For me if I don't like the vocalist, the enjoyment of the album takes a real hit. I just don't think he has a great presence on the material presented. Maybe that is the other problem; I don't think the songs are quite memorable enough. The first half of the album is definitely the strongest, but the second half falls short. If everything was as catchy as Keep On Dreaming, things would be in fine shape. Music aside, a special mention once again for the label's use of graphics and high class artwork. They know how to make a great looking package and this is no exception.
It's solid enough and is certainly well crafted, so if you like pure 80's melodic rock, do check it out.
|
|
Glenn Hughes Songs In The Key Of Rock |
Frontiers FRCD148 |
|
|
If for some reason you are new to Glenn Hughes, his history is colorful. Stints with Trapeze, Deep Purple and Gary Moore were interspersed with stints in rehab. But Glenn has been dry for a decade now and is clearly in the best form of his life. He has released several great albums in recent years, but this has to be one of the best. Be it be rock, hard rock, blues, funk or pop, Glenn Hughes knows no bounds. His variations between projects and guest spots always keep fans guessing, but keen too. There's rarely a let down as far as quality and there's never a dip in performance. Which I suppose makes it harder to keep on impressing folk - like me - that buy each and every record. I am pleased to say that the plan Glenn had in mind for Songs In The Key Of Rock has worked a charm. This is a magnificent hard rock album that sees Glenn pay tribute to his past work in Deep Purple, Trapeze and his 70's roots. Don't mistake what I have typed here - this is an album of all new, all original material. Glenn's aim however, was to create a big 70's hard rock record and that he has done brilliantly. From Glenn's hair, to his clothes and the album cover. This is classic Hughes. Personally I rate this, his second best record ever, behind only From Now On. Those who prefer the funky or more soulful side of Glenn might feel that this is a step backwards, but rediscovering your roots should never be discouraged, especially when such fine results as this are achieved. Glenn has said to me that he is constantly approached by fans who love him for his work in Deep Purple, so why not satisfy those fans with a great classic hard rock record? As one could expect, the sound is a little rawer than the usual Hughes polish, but suits the music perfectly. Track By Track: In My Blood opens with a thud and after a short vocal intro launches into a groovy hard rock song, engulfed in Hammond organ, a big thick rhythm section and equally meaty guitar riffs. This uptempo rocker is an ideal way to open the album and declare Glenn's musical intentions. A good catchy chorus is enhanced by some vocal acrobatics. Mid-song everything comes to a halt for a soulful interlude before Glenn really goes off! Lost In The Zone is one of the album's best tracks. This is a mid-tempo heavy blues rocker with a stamping beat and an authorative vocal that is classic Hughes. The vibe and vocal style reminds me of the From Now On album, as if it had of been recorded in 1975. Add a soulful bridge and a big rock chorus, with an even bigger vocal, and a classic is made. The guitar playing of JJ Marsh and Jeff Kollman is simply mesmerizing, drawing comparisons to Richie Blackmore and the great partnership of Mickey Moody and Bernie Marsden. Gasoline is a fast tempo'd blues rocker, with a funky lead guitar riff and some really raw, in your face vocals and another smashing chorus, making it one of the album's more instant tracks. The closing scream of the song has to be heard! The tempo slows for the darker and heavier Higher Places. This is a moody rock track that is dedicated to Zeppelin drummer John Bonham. It certainly has a Zep vibe to it, with a dual approach from Glenn, soulful harmony/verse vocals with a harder edge vocal over the top. Get You Stoned continues the dark and heavy retro vibe of the last track. A little Bad Company and a lot of Deep Purple here. This very dark bluesy rocker rolls along until the more pronounced chorus rises through the song, with another powerhouse vocal effort from Glenn. The mid-song instrumental passage is very psychedelic and is more 70's than flared bell-bottoms. Written All Over Your Face is a mid-tempo classic rocker, with more Hammond organ featured prominently. The slow soulful verse moves smoothly into the chorus that sees Glenn's vocals adding most of the song's melody. Different to the rest of the tracks, the song builds and continues to do so through it's entire 8 minute life. Add some 'choir-style' backing vocals and an extended bluesy instrumental section and the album's epic track is complete. At this juncture it seemed time to up the pace a little, but Standing On The Rock does more than that! This is a pedal to the metal hard rocker that will rank as one of Glenn's heaviest ever tunes, with a frantic guitar riff that borders on having a punkish vibe. A good fun hard rocker! Courageous remains uptempo, but in a far more relaxed, with a breezy pop heart. This is another highly original track, with a funky soul/pop/rock chorus that sees Glenn take in many of the styles he capable of. Secret Life is a terrific crunchy blues rocker with a touch of the album Feel about it, and a strong 70's funk feel. The album flows seamlessly into The Truth, which is another lighter track with a pop/rock heart. Hammond organ dominates the verse, while a harder edged guitar riff takes the chorus. Not my favourite track on the album, but it fits the album's vibe. After a couple of light-hearted numbers, the album seems ready to go out with a punch and Wherever You Go does just that. This bass dominated 70's rocker sees Glenn back at his roots again. The mid-song instrumental passage is pure 70's flair and the guitar solo is superb. A tasteful way to close the album - right down to Glenn's last vocal.
|
| Emerald Rain Short Sighted | AOR Heaven |
|
|
Emerald Rain are back with their 4th studio album and first for their new label. The guys have always been compared to fellow Ontarians Harem Scarem and those thoughts are bound to be even more relevant due to the fact former Harem drummer Darren Smith is now the band's new drummer. The most obvious thing to me is that Short Sighted is not as hard hitting as the last album. The sound is a little lighter and isn't as punchy as the last couple of albums. Song wise there isn't much of a change between this and the band's 3 albums, which is a good thing I think. You'll simply find more commercial-friendly, catchy melodic rock songs in the vein of Harem Scarem. There's a little new ground broken here, but mostly it's more of the same for the guys. Essentially fans of previous work will no go away disappointed with this album. There are a few absolute gems as you would hope, but also a couple that don't quite hit the mark. Not surprisingly, one things I really like about the album is the thumping drum beat, which kept my foot tapping for most of the 44 minutes of the album. The down side is despite that beat, I don't think the actual drum sound is as strong as on previous albums. A fault I put down to the less intense and more relaxed production quality of the album. Track By Track: The opening track Second Sight lacks that punch I mentioned. The chorus is excellent, as are the layered vocals contained within, but as a rocker, it doesn't have the impact it could have had. Wanted To Believe is almost classic Mood Swings era Harem Scarem, and packs a better punch. Pete Lesperance guitar soloing and Harem's layered harmony vocals are borrowed for good effect. Everyday Hero has a punchy guitar riff and a stronger verse-chorus hook that will make it popular with fans. All Fair And True is a darker rock track, touching on what the band did on the last album in places. It's something that suits the band and works well. Beneath The Blue continues the band's experimentation with their delivery, with raspy vocals through the verse giving way to a solid later-day Harem Scarem style chorus. The more aggressive tail end of the track is fantastic and makes this track an album highlight. Think Of Me features that Mood Swings/Pete Lesperance guitar sound again, over a good uptempo drum beat. Another strong chorus makes this portion of the album the strongest. Very catchy chorus. Must Be Love is an all acoustic ballad with a nice sentiment, but slightly hollow sound and no major hook. Wouldn't You is basically a track from the classic Emerald Rain songbook. Need To Fly is another commercial uptempo rocker with a solid and catchy chorus in a typical ER/HS manner. Ever After is a mid-tempo moody ballad with an interesting texture and lead vocal sound. I like the song for it's sound and original approach, but a bigger chorus would have made it even better. Done Bleeding ends the album on a high note, with another good uptempo rocker.
|
| Burns Blue What If... | Frontiers FRCD153 |
|
|
This is Vinny Burn's second solo venture, yet for all intensive purposes, is a fresh start. Burns Blue is Vinny Burns (naturally) and Sam Blue. Sam sang on all but 2 tracks from Vinny's solo album The Journey, so why is this now a Burns Blue project? Well, while I thought Vinny's solo album was ok, it was below average for the man's talents. The sound and songwriting were just a little below par. But the reservations held over from that album are all but evaporated with What If... The album is so much stronger in every department; from the quality of the sound, mix, songwriting and the performances of Sam Blue and Vinny himself. I must admit that Sam's vocals were a good part of what I didn't relate to on The Journey. But on What If... he seems to diversify his delivery and tone, making this a far more enjoyable album. While this album is musically diverse - Vinny's guitar tone changes throughout as does Sam's lead vocal - the production and song consistency helps the album flow easily from one track to the next. Each track has it's own feel and is rarely duplicated, which again makes the album flow easily and quickly. Track By Track: Cool Me Down is a fairly straight forward mid-tempo rock track with Sam Blue's moody vocals immediately making an impact. What makes the song especially cool is the chorus, which rises up with a good hook and is notably different to the rest of the song. Straight is a much more instant track, with a different tone, different pace and a real easy-come-easy-go vibe. There's a vocal hook in the song's bridge then another in the chrous, which like the song itself is instant. Has a very 80's feel to it. Deadly Sin is another big 80's track, with a strong Rick Springfield vibe musically. It's a guitar driven track, but has a strong Working Class Dog feel to it. Don't Wanna Know is a tribute to Vinny's days in Asia. This sounds like a blend of Asia and 80's Eddie Money, especially with the vocals and that Saxophone solo! Could have been lifted from Eddie's Can't Hold Back album. Lover's Game is strong English pop/rock in the verse, before it flows into a chorus that is pure moody keyboard driven Asia. This ballad has a great melody and a strong moody presence. I'm Gonna Win picks up the tempo. This upbeat rocker features another strong vocal and another guitar tone. Keyboards play a strong role in the song's texture and the chorus hook makes for another memorable track. Crazy continues the uptempo vibe. Another different track and chorus approach makes for an album which is never boring. She Wrote continues in an uptempo pace and is a pretty loose, feel good pop/rocker. It's time for another slower track and Tomorrow Never Comes is just that - returning to the moody, Asia like feel of Lover's Game. To One Side is a rocking, foot tapping, uptempo track with another strong 80's Rick Springfield vibe. Hung Out To Dry is possibly the album's most hard rocking track, which isn't that heavy, but has a great thumping beat to it and a stronger lead guitar role. Where Are You Now closes the album with another uptempo pop/rocker and a cool feel good chorus that sees Sam raise the vocal bar a little further.
But never is the album dated, it's just a fine slice of straight ahead guitar driven melodic music.
|
| Aftermath Natural Destruction | Escape Music ESM-087 |
|
|
Aftermath are another interesting band unearthed by Escape Music, who have a habit of finding these little gems for us eager melodic rock fans. These guys hail from New Jersey and were founded in 1995. Trends be damned, these guys are sticking to their 80's hard rock roots - the music is unashamedly classic 80's melodic hard rock, with a heavy reliance on keyboards. The style is similar to how Bon Jovi operated in their early years. This is definitely a classic era sound, but the music isn't dated. A love keyboards will help your enjoyment, as they play as prominent a role as the guitars and vocals. Pete Coleman was responsible for the mix, which as usual is up to his high standards. Comparisons to Bon Jovi, Damn Yankees, Kiss, Savatage and Skid Row are all rolled out in the band's bio. Most are fair, with my ears hearing early Bon Jovi, Skid Row and some of Poison's good time music as the most easily recognisable comparisons. It's Not Real opens the album, with a rising keyboard fill and a funky bass line. The song has a great pounding guitar riff/hook that is reminiscent of Skid Row, except these guys base the song's depth around increased keyboard usage, which should appeal to fans of that style. Ain't No Pretty Love Song rocks with a swagger and another catchy hook and more prominent use of keyboards. For Being You and You're The One rock harder again, with the lead guitar playing a bigger role in proceedings. Loving You is a great mid-tempo melodic track, with layered harmony vocals and another good chorus. Rich Gets Richer is a heavier rocker, with a groove and a Skid Row attitude. E Z Living reminds me of Poison, especially with the quick lyrical delivery. A guitar rocker with a definite groove and some Bret Michaels vocals. Behind These Eyes is a more laid back track, featuring some acoustic guitars and some good harmony vocals. Better Days is a cool, moodier track with a groove similar to tracks like You're The One. Tired is a little darker and comes and goes with little fanfare, but is enjoyable nevertheless. Pain Of The Memory is a cool moody mid-tempo track drenched in extra layers of keyboards over a melancholy vocal and some fine guitar work.
An 80's style hard rock record that compares to Bon Jovi and Skid Row with Poison's groove. A solid production and smooth mix helps the record stand out. Reminds me of fellow Escape Music label mates Fury.
|
| Rembrandts Lost Together | Atenzia Records ATZ 02009 |
|
|
Last year, Lost Together was released in the US, but Swedish label Atenzia always felt that more could be done with it. So with the added bonus of 1 new studio track and a full European release, the album is back again. And you know what, after 12 months since the original release, this album still sounds fabulous and could possibly be the duo's best album together. Below is my original review. As for the new track I'm In Love, that's in the same semi-acoustic vein as the rest of the album and features another classic chorus hook that any fan of Crowded House would adore. Welcome back to The Rembrandts! Last time around Danny Wilde was out on his own and I must admit the album really left me disappointed. A couple of classic pop songs and some way to soft middle of road tunes. In reality, I don't care how soft or heavy the songs are, just as long as they are good songs. On Lost Together, we have an album of 12 good songs. Even some excellent songs! Danny is once again joined by his partner in crime Phil Solem, who, aside from the last album, has been with Danny on every record he has made - aside from two late 80's solo records - but including their first ever band Great Buildings. The two harmonize beautifully together and swap lead vocals effortlessly. A true joy to listen to, especially when they are surrounded by flawless pop rock songs. Lost Together is right up there with The Rembrandts' best material. Equal with their breakthrough debut album and their best selling LP record. Tracks like Lost Together and St. Paul are instantly memorable classic feel good pop songs. Too Late isn't far behind and Big Plans is a gem of an AOR anthem. On the softer side, You Are The One and The Way She Smiles once again capture the band's talent for recording perfect heartfelt ballads. There is the familiar theme of Beatles influenced pop, but seemingly much less so than on previous records. This one really just sounds like a Rembrandts record. For those that like their pace measured equally, the albums slows in pace a little in the middle, but picks up again on the last third. For consistency and strength - put this up there as one of the band's albums - if not THE best!
As far as the re-release goes, well, more new tracks could have been added, but the album is so strong, what would you leave off?
|
| Vince Neil Live One Night Only | Image Entertainment |
|
|
I've seen Vince Neil live. It was awesome. Yes, it was nearly 10 years ago now on the Exposed tour (supporting Van Halen in Canada), but it was still one hell of a show and thoroughly energetic. Loud, in your face and featuring a very fit Vince. But this is Vince Neil 2003 and sadly, it seems a lot is now lacking. I'm happy that this show is from one gig and recorded without the aid of overdubs or studio tricks. Always a good start. But generally the show lacks atmosphere and as I sit through Vince running through a Motley Crue dominated set list, I can't help but wish I was listening to the original studio versions. Puzzling indeed, as Vince always has a hot band behind him and there's isn't really anything musically wrong with this, it just lacks punch and that vibe expected when a star like Vince is performing. It would have been nice to hear more solo tracks on the relatively short set list, but it's still chock full of classic rock tunes. It will appeal to fans, but will do little to raise his solo profile outside that group of people.
The killer set list carries the album past a point where I wouldn't recommend it, but this hasn't got half the energy I expected.
|
|
Lynch Pilson Wicked Underground |
Spitfire Records |
|
|
There has been a lot of hype surrounding this album. I've had e-mails from the distributor, I've had e-mails from various members of the "street team", I've had e-mails too from 'interested' parties, eager to see a good review posted. Well, I think I can accommodate these eager folk, but it does come with a caution. There is no doubting that this is a very good album. It offers a lot for fans of both musicians and the band they once held together, Dokken. The album's sound is impressive, with a solid production and even mix between the bare-bones instrumentation. It also rocks quite impressively too! But I caution, as this record isn't going to be for everyone. I'm still not sold on a few songs, although the heavy rotation of the album as a whole has helped with other tracks - getting better each listen as they unravel their melodies and become more familiar. The style is dark and heavy and relies heavily on George Lynch's love of a more modern guitar sound, a la Dokken's Shadowlife and his more recent solo work. The album is the perfect mesh of Jeff's Underground Moon outfit and Lynch's desire to be dark and modern, but still shred a little. But the good news is that with Jeff Pilson as his partner, the melodies and songs are far stronger and in deed are some of the best the pair have been involved in. This is like a dark and modern Dokken record, with a twist. It has an aggressive edge, but features better songs and stronger hook/chorus definition within each song. The melodies seem to have been given a greater importance, but don't expect them all to jump out at you straight away. This isn't an instant record, nor is it a sing-along anthem record. The pace is mainly mid-tempo, but there is still some variety. Vaccine and Zero The End rock out, while Awaken and Ever Higher add balance from being largely acoustic based. Breath & Scream is an ambitious album opening track, clocking in over 6 minutes. Jeff Pilson needs to be singled out for special credit for his vocals. Supporting a very strong voice, he does an excellent job and adds a lot of melody to the tracks with his Don Dokken-esque tones.
But it certainly achieves the goals Jeff and George set out to achieve and will impress many fans of the guys and could even bring in some new ones.
|
| Harem Scarem The Early Years | Frontiers Records FRCD152 |
|
|
Before Harem Scarem signed to WEA Canada they recorded an 11 track demo CD that was sent to various labels. I think maybe 50 were printed and in recent times a couple found their way to E-Bay, where they sold for over $500 US. Subsequently a copy was offered for sale on a shop website for $995. This was brought to my attention by a group of fellow traders/fans. I talked to Harry Hess about this, which quickly developed into a plan to finally release it officially, as Harry suggested that no fan should have to fork out that kind of money for the songs. The Early Years is that collection of songs, plus a few extra unreleased tracks from the same era and the added bonus of the Weight Of The World Japanese bonus track - End Of Time. If you haven't heard that track yet, this compilation would be worth the price for that track alone. End Of Time is a classic mid-tempo Harem Scarem feel good rock ballad. Classy stuff. As for the album's other 15 tracks, it's very much in the vein of the band's debut album, with a slightly harder rock edge, due to the fact that they are demo's and haven't been polished up too much. If you own Harem Scarem or Mood Swings, the songs on this CD will have a very familiar feel to them, with tracks like You're The One, One Of The Wounded, Last Time, When The Morning Comes and the awesome ballad I Can Hear Them Now causing fans to have multiple palpitations. The sound quality is the only negative here - yes they are demo's and unreleased tracks, so there are compensations made. But the sound is a little varied in places and a little muddy, sp don't expect the clarity of Mood Swings or Weight Of The World. Additionally, now it's 2003, there is a somewhat dated feel about the songs. A couple of notable inclusions to mention. The original demo of Honestly and All Over Again are included, as is the demo for Stayin' Away, a song that would not resurface until the Believe album.
Those that haven't got over the fact the band never repeated the style of their early work will find solace in this collection, as it's 1990 "All Over Again".
|
| Mitch Malloy Malloy 88 | Now & Then Records |
|
|
My review for Harem Scarem's Early Years could almost be cut and pasted into this review. Mitch Malloy has a lot of fans, mainly due to his killer debut album, which remains a classic slice of melodic rock. Post-debut-Mitch found him playing both country and pop/soul styles, but most recently returned to his more melodic roots, albeit in a slightly softer more mature form. But Mitch says he's ready to really rock again and what better way to kick start a new phase of his career by releasing the original album he cut as a demo for record labels in the late 80's. Malloy 88 features 12 tracks which just like the Harem compilation, will satisfy his oldest and most dedicated fans, rewarding them with a selection of tracks that match the rock vibe of his self titled debut. And again like the Harem album, the sound quality is somewhat rougher than the crisper big budget debut or his recent album Shine. The songs are pretty stripped back, raw and a little dated, but there's no doubt those minor points will be over looked by fans eager to hear Mitch in most requested form. The most important factor is the quality and as hoped, there are some catchy little numbers included here. Of historical importance is the inclusion of the original demos for Problem Child and Forever, which was the only track here that went on to be included on the now famous debut.
|
|
Black Label Society The Blessed Hellride |
Spitfire SPT-15091-2 |
|
|
I won't call this the best album of Zakk's career, as that would then encompass some classic work with Ozzy Osbourne, but I will call it his best solo work to date. Each BLS album has had something to offer fans of his sonically intense hard riffing and 'those' grinding vocals. On Blessed Hellride, Zakk has combined a more solid and even production quality with 11 well written songs that span the whole album, not just a few classics amongst some fillers. Consistency is the name of the game here and Zakk offers some of his best hard rocking guitar riffs in a long time and additionally improves his guitar tone to be more in tune with his Ozzy work than the seemingly darker and more modern rock friendly approach of the last couple of albums. I'll bet that the majority of fans will rate this better than Ozzy's disappointing last album Down To Earth. Speaking of which, the man himself appears on vocals on the track Stillborn, which takes us back to the classic sound of Ozzmosis. Zakk himself sings with greater authority here, taking up some of Ozzy's influences, but still remains a long way from being known as a lead vocalist. As with my last 3 reviews of BLS, I'll plead with Zakk to hire a proper singer to do justice to the material. That said, this is a fine release filled with some monster riffing and some big angry metal tunes that dedicated fans will gobble up. Pleasing to note that there are also some fine guitar solos throughout the record.
|
| Talisman Cats And Dogs | Frontiers Records FRCD146 |
|
|
I've gone back through Talisman's previous albums and to my ears this is their best release to date. There's bound to be some debate over that, as the band holds a special place in the hearts of a great deal of melodic hard rock fans. But the band's earlier albums now sound just a little old and their last couple weren't as strong musically. What's better then, than a fresh collection of new songs from the band's best loved line-up? Nothing! Hence why the combination of good production and the overall sound combined with another collection of very memorable songs makes this my favourite album from the band. Over the past 12 months we have had the one-off Humanimal album and a Jeff Scott Soto solo album. All three releases have scored 95 ratings, but all three releases have been musically different and excellent in their own rights. Humanimal was hard rock heaven, Prism was more moody ballad and AOR driven material and you will find that Cats & Dogs is classic Talisman - meaning something falling between these other two releases. The unmistakable swagger of Marcel Jacob's bass and the harder edge vocals of Soto, plus the return of guitarist Fredrik Akesson and drummer Jamie Borger make this album as strong musically as it could be - it was only ever going to be the strength of the songs that dictated it's success. Thankfully the guys have hit a home run there also, as this set of songs impresses me more as a whole than the tracks of Prism and Humanimal - mainly for the seamless way the album seems to flow. None of the songs sound the same, each has it's own strong melodies, yet blink and you are at track 12 already. It's all very well put together. Track By Track: The distinct scream of Jeff Scott Soto opens the album, Skin On Skin is typical Talisman - a little funky, guitar driven number with a definite swagger and a chorus that features the required smooth background harmonies to emphasize the song's hooks. The band have always had a unique approach/style and this album is no different. Break It Down is a little heavier and a little more urgent. The chorus is very recognizable, but it's the song as a whole that really works. It also features some tasty guitar soloing and bass riffing in an extended instrumental break mid-song - the kind of musical arrangements that make the band so interesting. In Make Believe starts off slow, with a very nice Soto vocal and heads right into a classic Talisman groove. The chorus features more layers of vocal harmonies and is mid-tempo in pace. Love Will Come Again is a moody mid-tempo track reminiscent of more recent albums, with a heavier chorus and a style that could have been featured of Jeff's Prism album. Outta My Way cranks things way up. This track is a big uptempo hard rocker with a definite overdose of guitar and bass shredding. Very cool. Friends To Stranger continues the harder edge, a little more restrained this time, playing out in a very dark and moody way. It's time for a sentimental tune and Sorry is just that. This is a first rate rock ballad actually. It's still guitar driven and shows no sign of wimpiness, but has a killer chorus and a big sing-along feel. Trapped signals time to rock again. This is a heavy groover of a track, with a dark moody verse and a more uptempo, rather catchy chorus. More classic Talisman. M.O.M. continues straight on from the last track. More of the same with another chorus of it's own character. Wherever, Whenever, Whatever starts dark and slow, and gently builds into another strong mid-tempo rock track with a strong chorus. Lost In Wasteland's guitar intro sounds like classic Van Halen mixed with a lighter version of Metallica. The song is a little different in texture than the other tracks, but the variation is cool and the chorus is again short, but strong. Hell In Paradise closes out the album with another dark and moody rocker, featuring another particularly strong guitar riff and a great lead vocal from Soto.
|
| Bob Catley When Empires Burn | Frontiers Records FRCD150 |
|
|
Without a doubt this is Bob Catley's strongest solo outing to date and also ranks as the best collection of songs he has performed since Magnum's heyday. It not only beats Bob's 3 other excellent solo albums, but also betters the last couple of Magnum and Hard Rain records. This is going to be an essential purchase of any Catley/Magnum fan and in the long run, a bloody hard album to top. After serving him well, a rest was needed from the songs and production style of Ten's Gary Hughes. He was responsible for the material and sound of Bob's first three studio albums. Time for a change. But who would replace the very big shoes of Mr. Hughes? In steps Paul Hodson, familiar to Bob in Hard Rain and connected also to Gary Hughes from his new role as keyboardist in Ten. Paul's got his own style and vision and from hearing this, I must deduct that it is perfectly suited to Bob's talents. In fact, the material here only serves to further increase Bob's stature and make both of them look good - or even better than they already are. It will certainly do a lot for Paul's stature. The union that has been formed here will be one that fans will appreciate and is more likely than ever to recruit new fans into the Bob Catley fan club. The style of When Empires Burn is more traditional British melodic hard rock. Yes, it's heavy in places, but not too far removed from what the previous solo albums have offered. It's not one thing that makes this album so good, but a combination of the vital factors needed to come together to make a classic album. The dark and heavy rockers are complimented by breezy mid-tempo AOR anthems and those are complimented with some slower moody ballads. It's just a very cohesive collection of songs. Gone are any signs of a concept record (thank God), plus there are no references to dragons or castles and there is a true sense of freshness to the record. The production and mix are fabulous. Everything is easily audible, even on the heavier, more complex numbers. The songs are varied in style, yet all are filled with glorious vocals and harmonies, not to mention hooks that are easier to come by than a brand new tackle box. The album importantly features a full cast including Al Barrow, Vince O'Regan and Jamie Little, not to mention Paul and of course Bob. This helps the sonics of the album, which is clearly major label quality. The band deserve a lot of credit for making the material sound so good. Track By Track: The Torment is a tasteful 90 second itro that sets up the album. Builds the tension nicely! The intro flows into the opening track Children Of The Circle, which is equally dominated by keyboard swirls and guitar riffs, but above all, features a dramatic chorus featuring Bob in full flight, surrounded by lush harmony vocals. The song is a dark and heavy track, made lighter by keyboard fills and Bob's always melodic-friendly tones. Gonna Live Forever lifts the tempo further. A simple delicious intro just gets better as the song runs from one sweet vocal hook to the next. This is a great rocker and the chorus is Bob at his anthem best. The Prophecy changes the pace of the album without interrupting the flow. This is a dark and heavy and somewhat dramatic track, with a very strong Catley vocal - pushing his voice harder than I have heard in some time. Once again the chorus is strong, although remaining fairly embedded within the song itself. I'll Be Your Fool changes the pace again - this time it's a lighter and a seemingly more breezy feel good uptempo rocker, with more vocal hook magic from Bob in the strong verses and a big fists-in-the-air bridge-to-chorus refrain. Add layers of keyboards and harmony vocals and you get something reminiscent of Magnum at their best. Every Beat Of My Heart is the album's big power ballad. The song is moodier and heavier than it's predecessor, but in a traditional rock ballad pace. Another strong lead vocal performance in the songs verse is only bettered by another great (big) chorus. When Empires Burn signals a return to the heavier and more dramatic style of the album's opening tracks. Yet another strong chorus and another song that like the rest of the album, stands on it's own merits. Things slow down again for the ballad Meaning Of Love. Once again, the song is perfectly placed, as the album's slow continues perfectly. The song starts slow and pretty laid back, but builds to the feel good sing-along chorus. This Is The Day turns the album on it's head again, with the heaviest track of the album, filled with dramatic keyboard flurries and some heavy guitar riffs. Bob's really pushing his voice to great effect and the song works well without any big chorus. Someday Utopia continues the heavy path of the last song, but picks the tempo up another notch! Now Bob's really going for it and doesn't hold back on the excellent chorus. Possibly one of the fastest tempo'd track of Bob's career? What better to follow that double headed riff fest than a slower paced and Celtic inspired track in My America. This is familiar to some elements of Bob's previous solo records, but once again features a tighter production quality, stronger hook value and overall sense of majesty. And so ends the album - regular format. The first pressing will be a digi-pack limited edition with two bonus tracks. Those are - Heaven Can Wait*, a feel good, mid-tempo pop rocker similar to I'll Be Your Fool. And When The Earth Lies Still (demo)* - a soft piano ballad that has a haunting vocal and strong sentimental streak.
Magnum and Catley fans will be in hog heaven without doubt and I dare say that the soundbytes should encourage new fans into the fold. Dramatic, heavy and also melodic, full of hooks and harmonies that do the melodic rock scene proud.
|
| Brian McDonald Voyage | Atenzia Records ATZ 02010 |
|
|
Brian McDonald doesn't make records in a hurry. It's been 3 years since Wind It Up and a decade or two since his cult debut. Voyage is a departure from the more Def Leppard themed pop/rock of Wind It Up. This is a far stronger, more diverse and ultimately satisfying record. Without hesitation I regard it as Brian's best work to date and more or less a masterpiece for lovers of all things pompous and bombastic! Voyage finds McDonald in the company of pomp legends Kansas, Styx, ELO and Queen, not to mention the best elements of 80's Chicago. Naturally there is still a heavy dose of Def Leppard in the mix, especially with the layered vocals and general production techniques. One listen will not satisfy listeners. It's only after half a dozen spins that the full brilliance of the album emerges and some of the many layers within the songs reveal themselves. Indeed, many more listens on, there are still elements within each track that are coming to light. This is a thoroughly over the top pomp rock record, with huge hooks, massive melodies and more layers than most other records currently on the market. Reb Beach guests on guitar on several tracks, but for the most part, this is Brian's own baby. Better even still when all things considered, this does not sound like a one-man-band record. I mentioned diverse - well amongst the layers of keyboards and guitars and pomp harmonies, there are strings on two tracks, bagpipes on another and brass on three tracks. A review of each track is the only way to do the album as a whole justice. Track By Track: Opening Brain's account on Voyage is the track Intimate, a song that builds quickly into a smooth pop rocker not unsimilar to what you would have expected. Take a hard listen to what's going on in the background and you will hear more than just the vocals and guitar. A chorus explodes with a keyboard flurry and several layers of vocals and changing harmonies quickly demonstrates that this album is going to be something different. Funnily enough, the opening track is not one of the album's strongest, nor one of my favourites. Where Are You Where Am I however, is! This ELO/Beatles/Chicago inspired pomp rocker is everything you could hope for from this album, with a soft verse that leads into a cracking chorus with a great hook. Pomp heaven - and listen for the strings! In The Shadows Of Angels is another big anthem pop/rocker with a tempo that changes at least 3 times within the song. Features some strong piano paying, a great lead vocal and a heavier rocking chorus that is possibly one of the album's best. A mid-song instrumental interlude brings back fond memories of classic Styx and Kansas. Phoenix Rising features a long intro that sounds like Peter Cetera joining Styx. Another strong chorus and some tempo changes make this another highly memorable track. The verse doesn't seem to have much to do with the chorus, but together the song really works. Listen for the brass section. The Night You Said Goodbye is the album's big commercial rock ballad. FM radio circa 1986 would have eaten this track alive. This is a big ballad that could have been lifted from any 80's Chicago album and featured on any movie soundtrack you could pick! A great chorus and lots of layers in the verse. The title track Voyage is more of the same highly infectious pomp that occupies the whole album. Verse, bridge, chorus, break, same again....it's all very complex stuff! Great keyboard break mid-song. Patriot Dreams is another album highlight. I love the sentiment of this song and the way it's delivered, with Brian's vocal taking the lead. The song tells a story, with the melodies in Brian's vocals guiding the listener. The song tempo changes from slow to mid to fast and back again through the course of the track. Very cool and features a strong guitar presence. Out Of Time is a classic 70's pomp rocker and one of the more straight forward tracks of the album - if there is such a thing! Between Heaven And Heart is the album's other big anthem ballad. Reprise my comments from The Night You Said Goodbye and add a string arrangement, brass and a big chorus and even bigger song climax. Great stuff. Normandy features a long and dramatic intro befitting a song of such a serious subject matter. The song details the place of a major WWII battle and is the darkest and heaviest track of the album. It's a little harder to get through than some other tracks, but offers a great mood change and finishes up with a complex mix of musical layers. Legend is a well placed softer track, with a more relaxed vibe, although the chorus is still quite dramatic. Not as strong as earlier tracks. In A World Made For You picks the tempo up a little and reverts a little back to the style of the first half of the album, but like the last few tracks retains a darker and more dramatic core. Unfinished Business a short Celtic intro soon gives way to an acoustic guitar/vocal intro that runs for several minutes before building into a dramatic musical burst that returns to the Celtic roots of the songs intro. Once again, not as catchy as earlier tracks, but darker and more melodramatic.
The last 4 tracks are darker, longer, heavier and suitable more dramatic in their arrangements, which somewhat contrasts the first set of songs. But repeat listening brings out new aspects of every song and you will find that your tastes shift between the changing moods of the album. An amazing piece of work that will not suit every listener, but is genuinely a perfectly crafted record for any fan of complex melodic rock and especially those already tuned into the world of pomp as offered by the classic bands of the genre such as Kansas, Styx and ELO.
|
| TNT Taste | Marquee MICP-10352 |
|
|
Taste is just that - a taste of TNT circa 2003 before a full studio album arrives later this year. The EP is out now in Japan and will be released minus one track in Europe first week of June - and under an alternative title - Give Me A Sign. The songs contained on this EP were all recorded earlier this year, apart from Destiny, which is an unreleased track from the Tell No Tales sessions. The style of the songs is nicely varied. This is not a repeat of the more modern sounds of Transistor or Firefly, but rather an updated sound for 2003 that still relies on strong melodies. It's not that far removed from the same vibe that made the last Westworld album such a success. Track By Track: Live Today is a cracking rocker in any one's language. A subtle guitar intro and restrained, somewhat dark and moody verse bursts into a classic TNT chorus. While not being an over the top anthem, the songs nevertheless sticks in one's brain as if it was. Hey Love is a slow and dark rock ballad which continues the style of the opening track, but in a heavier, slower vibe. The chorus takes a few listens, but it's another strong rock track without doubt. Satellite is genius stuff! From the darker opening tracks comes a complete turn around in this happy go lucky guitar driven 3 minute pop song. Happy, feel good and possibly the most commercial pop track the band have ever recorded. Features a very catchy beat and chorus. Give Me A Sign is the band turning to their more modern side, with another dark and moody rock track, with some hints of the Transistor vibe, yet with a more accessible melodic guitar tone. No big chorus, but one that still sticks. Magic Little Nightmare is another change of pace for the band - an acoustic ballad. Moody again and highlights a new side of the band. Destiny is a track left over from the Tell No Tales sessions and clearly doesn't match the sonics of the rest of the EP, but is still a worthy inclusion and a gift for fans of the band's classic era. Yes it has dated somewhat, but it's still a cool flashback on a great period of hard rock music.
|
| Nexx Colours | Now & Then Records |
|
|
A lot of praise has been given out with the current set of reviews and it's not going to stop here. This period offers some of the best melodic releases in many months and Nexx is another fine contender. Nexx are a Spanish newcomer that have been working hard to perfect their debut album. It's finished and what's on offer is quite simply the best female fronted melodic rock release these ears have heard since Fiona's most underrated Squeeze album. That claim knocks out a lot of competitors, but I really dig this album. The 12 songs offer a little of everything - some uptempo moments, some moody ballads and some straight up commercial melodic rock tracks, all running together to form a very smooth album. If you are a fan of female lead singers, this album should be investigated. There's nothing fancy on this album. No tricks, no gimmicks and no single stand out track to distract listeners or hide the fact there aren't any other tracks as good as it within the record. To my ears there are no fillers and the album's strength is that each track holds it's own and the variation within the album will keep listeners interested. This is not a heavy album, or a hard rock album, it's straight ahead melodic rock with AOR touches. It has a very 80's commercial feel to it, but never once does the album sound dated. It just has a very commercial vibe. Track by Track: Arches Of Faith features a long, soft intro that with a crack of a drum bursts into full swing, featuring some lush keyboards and a nice hard edged guitar riff and those strong, but sultry lead vocals. The chorus is one of my favourites of the album, which is always important for an opening track. It hardly seems like it, but the track runs nearly 7 minutes. Very cool. Remember seems like it is straight from the Fiona songbook, a strong verse, a big chorus hook and some ultra smooth vocals. Get Fire picks up the pace somewhat. The first two tracks are mid-tempo rock songs, this is uptempo and rocks along nicely. Another strong verse and chorus is featured alongside some solid guitar riffing and a less pronounced keyboard presence. Indifference is the first slow track of the album and features more of those sultry vocals! The song's soft approach intensifies into a strong, but short chorus hook. Not really a bad, but more a slow, moody rocker. Sitting There is a short instrumental interlude that runs straight into the very dark and moody Wake Up. One of my favourite tracks, the vocal melodies and song arrangement are definitely a step above the usual melodic rock fare and the song as a whole works very well. Strong harmony vocals help the song's atmosphere. After The Storm is a change of pace. The song is far lighter in mood than the rest of the album and is best described as a feel good, uptempo pop track. In A Blue Moon is a little more guitar driven, but continues the somewhat lighter approach of the last track. The chorus is again very strong and offers something different to the rest of the album's tracks, which is another reason the album is so easy to listen to. One More Day is the album's first proper ballad and features a soft vocal accompanied only by piano until late in the song when the atmosphere builds. Another fabulous track, with a huge vocal and yet another change of pace. Good Time Comes is an enjoyable straight ahead melodic rocker that again sounds like classic Fiona. If You Could Read My Mind is a soft mid-tempo track with a heavier chorus. In fact the chorus has two parts, the second part not revealed until later in the song. A great piece of songwriting and a monster hook! 40 Days & 40 Nights closes the album with a sultry, moody ballad, again featuring some tasteful piano. No big choruses, but some great vocal melodies and a stylish way to end the album.
A crisp uncluttered production job helps the album sound fresh. The Spanish accent comes through in some of the lead vocals, but in general this album should appeal to melodic rock fans worldwide.
|
| Ken Tamplin Wake The Nations | Now & Then Records |
|
|
Not another great album? Yes, I'm afraid so. I've been a fan of Ken's work since Shout, with many other fans going back even earlier than that. I've always found Ken makes some killer tunes, but not always killer albums. But this album contains more killer tunes than any other album to date and is therefore, in my mind, Ken's best album ever. There's 18 tracks on offer here, plus a bonus CD containing 2 videos. That's a lot to chew through and to be honest, it could have been edited a little to maybe 12 tracks. That's my only issue. The upshot is that it's great value for money and even better, contains more than an album's worth of killer songs. In my mind tracks 1 through 8 are utterly essential in the collection any melodic rock fan. Thereafter it's a little hit and miss, with 7 Eleven People, Livin' Large, Freedom, Sing and Come Together my personal favourites and all featuring more strong hooks. There are plenty of guitar solo's on offer, with guests like Jeff Watson, Kee Marcello, Doug Aldrich, Reb Beach, Richie Kotzen, Marty Friedman, Pete Lesperance and Scot Van Zen all joining in with band guitarist Howie Simon. But let's takle a look at those earlier tracks: The Story Of Love is an uptempo hard rocker featuring guest vocalist Jeff Scott Soto, who provides a great partner to Ken. Lots of big guitars, a strong chorus and some fine Hammond organ for good measure. We've Jihad Enough has a cool rock groove to it, with some vocal effects used to good measure in places. The lyrics are biting and the chorus is memorable without being in your face. Falling Houses is a big heavy rocker and features a huge guitar sound and some impressive lead vocals. A strong chorus hook makes it one of the best rockers on the album. The Man With A Plan features a more relaxed vibe and a soft lead vocal, plus a groovy chorus hook that comes and goes pretty smoothly. Hare Kristians is pretty much a straight up melodic pop/rocker, but features an excellent hook filled chorus that makes it one of the album's most memorable. Wake The Nations rocks things up again, with a faster tempo and a more in your face lead vocal. The chorus is also more in your face and offers a good variation on some other tracks. God In Heaven is a slow semi-rock, semi-ballad track. Features some more strong hooks. Peace On Earth is an uptempo feel good track that is fairly stripped back musically, but is driven by a strong lead vocal and chorus hook. From here the standard drops just a little, but Livin' Large and 7 Eleven People return the album to great form. I think folks will have their favourites amongst the album's 18 tracks, but in any regard, there will easily be an album's worth of material to please most. I also respect the way Ken manages to write Christian messages into his songs without preaching. The songs on Wake The Nations are all strong in their devotion, but also look at social issues, personal belief's and political topics - all in an intelligent and easily understandable way. The album is also very well produced, with a clear sharp sound and an even mix throughout.
|
| Enzign Cast The First Stone |
|
|
I'm sorry to say, but this album is a bit of a muddle. The biggest problem I can see is the lack of a producer to exercise restraint from the band and try and piece together the sound a little better. From the outset, the sound of this album just hurts my ears. The songs need a better structure, the vocals need tuning and the whole sound is overly loud. Stack it up against other albums currently available and it sounds even worse. The band is best known for featuring guitarist John Halliwell of UK hard rockers Ten. His efforts are not to under estimated, his playing and indeed, his shredding on this album are first rate. But there are some cases of less would have been more, with a few too many solo flurries happening at once. The songs themselves are ok, most songs are in the vein of traditional British hard rock and the musical elements that make up Ten. I must say that the vocalist does nothing for me. He is probably an ok singer, as there is some strength there in his voice, but in this case, the his delivery is lacking. These complaints all bring us back to the production though, as a good studio and engineer are basically there to help musicians look good. This album has been recorded on a budget and I'm sure better could have been achieved. No one has given these guys a hand and the result is an album that is very hard to listen to.
Purely and simply this album is badly produced and sounds like a demo. With the standard of other releases in the market place currently, there is no reason to spend hard earnt cash on something that just doesn't sound up to par.
|
| Marc Ferrari Lights Camera Action |
|
|
This is not a comeback album for Ferrari, who is way to comfortable making tons of cash with his song licensing business. Rather, this is a collection of unreleased demos and studio tracks intended for various film and TV projects. For the most part this is a pleasant album, but it's not going to set the scene on fire. The first four tracks featuring Bob Reynolds will be of most appeal to hard rock and guitar enthusiasts out there. The problem with many of these 'outtake' albums is the changing pace, quality and style of the tracks contained within. Here we have a couple of commercial AOR tracks, a few sleaze rockers, 2 blues tracks and one song not even performed by Marc! (It was written by him though) The production quality is at least consistent throughout, but the changing vocalists does offer a distraction. The one thing I get from listening to the album from start to finish is the lack of punch. There just doesn't seem to be any urgency in the tunes and generally, while this is still a rock record, it seems pretty laid back and uneventful to me. Even the pure AOR of the Stan Bush sung Capture The Dream seems a little stale.
Ferrari has offered better on past albums and band projects and one would have to asume that this will appeal to collectors only, rather than any melodic rock fan looking a new purchase.
|
| Green Life | Frontiers Records FRCD151 |
|
|
This is another concept album, but unlike others in recent times, isn't a heavy rock or metal concept album. Instead, it's a little melodic rock, a little progressive, a little modern rock and a little pop. And given those different musical directions, could be a little confusing to the listener. But on a positive note, there are some fine melodic-friendly songs on offer here. Green hail from Tuscany and compare their efforts on this album to the music of Pink Floyd and Rush. Fair enough, but there's also a fair dose of more modern sounds, soft acoustic alternative pop rock for one. The album gets better with each listen, with some strong hooks and melodies making themselves familiar with your brain. As good as the songs and the music are, the style of the album - the underlying modern and acoustic guitar sound - makes it a hard one to pitch at regular melodic rock fans. Those partial to something a little different and a little progressive might find a hidden gem here. Conscience and I Gotta Run are excellent tracks, as is Cycling In The Rain, but the flow between these mid-album tracks is halted by a double-headed instrumental section - but that's what concept/progressive albums are about I guess. The accent in some of the vocals and the more European friendly sound are two elements that might put some people off, but the more adventurous will find some good musical highlights on this album.
Some good moments, but a bit diverse to capture the imagination of all melodic rock fans.
|
| Sammy Hagar Hallelujah (Live) | Sanctuary |
|
|
Much like Sammy's last studio album Not For Sale, this greatest hits live package, recorded on the Sam & Dave show, is as raw as dogs balls. The last album contained some great songs, but was pretty raw and this live recording is a perfect companion to it. The recording is totally devoid of overdubs (something I always appreciate), but does sound like it was recorded on a budget. Sonically I've heard better - even some bootlegs I've got are better recorded - the problem here being that this just sounds too loud in places and a little distorted. The sound may be rough, but at least it's in your face and clear enough. But those small issues aside, this album rocks! The track listing is first rate, covering the best of recent and classic Sammy, plus adding the very excellent benefits of guest appearances from Michael Anthony and Gary Cherone. It's great to hear Anthony and Hagar together again, the VH bass players high pitch backing vocals unmistakable. Another factor in this album's favor is although it's record in several venues, the album still flows pretty well.
|
| Altaria Invitation | Metal Heaven |
|
|
Solid European metal is my best take on Altaria's debut album. The sound quality is above average for a smaller label like AOR/Metal Heaven - credit to them for showing some faith in these boys. The guitarist is from the acclaimed Nightwish, the vocalist from Requiem, and second guitarist/keyboardist Jani Liimatainen is from Sonata Arctica. So you see, the pedigree is there and the production is there, so how about the songs? Good stuff if this genre is your ball game. Strong songs that aren't overly heavy, but remain powerful and catchy enough to appeal to a solid audience.
|
|
Meatloaf Couldn't Have Said It Better |
Polydor |
|
|
Meatloaf has made two truly classic albums in his time and some ok ones too. Additionally there have been a few stinkers along the way. The crux of the matter is that without songwriter/producer/arranger extraordinaire Jim Steinman, there is always going to be something missing from the formula. Bat 1 and 2 are fabulous albums. I adore Bat 2 and am a fan of the big man for what he is capable of vocally and theatrically. On his last album Welcome To The Neighborhood, Meatloaf tried his best to make everything as Steinman-ish as possible, with all the name songwriters brought into to try their hand. It was on ok album, but again, there was something missing and a few tunes fell flat. Couldn't Have Said It Better is much the same. It's probably just that bit better than Welcome..., but upon reaching the last track, one again returns to thoughts of Jim Steinman. I think this album sounds better than the last one and sonically is probably one of his better that didn't include Steinman. Generally speaking there are some very strong songs on this album, but a couple of question marks also. Couldn't Have Said It Better is a typically grandiose over the top rocker with three or four different tempos, but doesn't match the power of I'd Lie For You. Interestingly, the track was written by Motely's Nikki Sixx. The single Did I Say That is as close to classic Meatloaf as you will get. Immaculately produced and wonderfully over the top. Why Isn't That Enough is a nice change of pace and a sweet passionate ballad with some solid instrumental backing. Love You Out Loud is an ok straight up rocker, but doesn't quite make classic status and I'm not sure why there are vocal effects used in places. Man Of Steel is a good dramatic track with a solid chorus, but some modern production effects kind of take away from the track as a whole. Testify is classic. The album's best and catchiest track. The feel good rocker is over way too soon, even if it does suffer from too many time changes. Classic chorus! Tear Me Down is a standard rocker. Good to see Meatloaf indulging in so many upbeat tracks, but I've heard better from him. You're Right I Was Wrong is an ok sentimental ballad. Because Of You is another solid track that moves in a slightly different direction, but it's the strength of the chorus that makes it. Do It is just plan bad. Terrible even. What the hell was meat thinking on this load of modern rap/pop crap? Forever Young is an ok uptempo ballad, but together with a 3 minute gap and a forgettable hidden track just ends the album on a low note.
|
| ARTIST | ARTIST |
TITLE |
LINK | SCORE |
LABEL |
 |
Radioactive | Yeah | Review* | 95 | MTM Music |
 |
XYZ | Letter To God | Review* | 87 | MTM Music |
 |
Varios Artists | Jack Ponti Presents Volume 1 | Review | 65 | Majestic Rock |
| ARTIST | ARTIST |
TITLE |
LINK | SCORE |
LABEL |
 |
Harry Hess | Just Another Day | Review* | 92 | Frontiers |
 |
Khymera | Khymera | Review* | 92 | Frontiers |
 |
Praying Mantis | The Journey Goes On | Review | 70 | Frontiers |
 |
John Wetton | Rock Of Faith | Review | 45 | Inside Out |
| ARTIST | ARTIST |
TITLE |
LINK | SCORE |
LABEL |
 |
Mike Tramp | More To Life Than This | Review* | 91 | Ulftone |
 |
Gotthard | Human Zoo | Review* | 89 | BMG |
 |
Thunder | Shooting At The Sun | Review* | 92 | STC |
 |
40ft Ringo | Funny Thing | Review* | 92 | Atenzia |
 |
Hall & Oates | Do It For Love | Review* | 87 | U-Watch |
 |
Gary Moon | Still Moon | Review | 85 | GaryMoon.com |
 |
Pyn Siren | Slave To Your Master | Review | 84 | Kivel |
| ARTIST | ARTIST |
TITLE |
LINK | SCORE |
LABEL |
 |
Drive She Said | Real Life | Review* | 90 | Frontiers |
 |
Ring Of Fire | Dreamtower | Review | 85 | Frontiers |
 |
Liesegang | No Strings Attached | Review | 86 | Escape Music |
 |
Demon Drive | Four Play | Review | 80 | Escape Music |
 |
Firefly | Automatic | Review | 70 | MTM Music |
 |
Jesse Damon | The Hand That Rocks | Review | 80 | On Fire |
| ARTIST | ARTIST |
TITLE |
LINK | SCORE |
LABEL |
 |
Styx | Cyclorama | Review* | 91 | CMC |
 |
On The Rise | On The Rise | Review* | 98 | Frontiers |
 |
Jim Jidhed | Full Circle | Review* | 92 | Atenzia |
 |
Departure | Corporate Wheel | Review* | 91 | Escape Music |
 |
Masterplan | Masterplan | Review* | 95 | AFM |
 |
Giant | Live And Acoustic | Review* | 86 | Frontiers |
 |
Phantom's Opera | Act IV | Review | 87 | Escape Music |
 |
Frontline | Almost Unreleased | Review | 88 | AOR Heaven |
 |
Crush 40 | Crush 40 | Review | 79 | Frontiers |
 |
Artension | New Discovery | Review | 84 | Frontiers |
 |
Marc Bryant | Naked Son | Review* | PR | Indie |
 |
Ignition | Ignition | Review* | 90 | Atenzia/MTM |
 |
Coastland Ride | Coastland Ride | Review | 78 | AOR Heaven |
 |
Mikael Erlandsson | The Gift | Review | 88 | MTM |
 |
Great White | Thank You...Goodnight! | Review* | 85 | Knight Records |
 |
Robert Valdes | Out Of The Shadows | Review | PR | Indie |
 |
Mars Needs Women | Red Means Go | Review | 83 | Fastlane Records |
 |
Romeo's Dead | It's Your Fault | Review | 75 | Fastlane Records |
| ARTIST | ARTIST |
TITLE |
LINK | SCORE |
LABEL |
 |
Urban Tale | Signs Of Times | Review* | 94 | Frontiers |
 |
Unruly Child | UCIII | Review* | 94 | Frontiers |
| ARTIST | ARTIST |
TITLE |
LINK | SCORE |
LABEL |
 |
Ferreira | Fallen Heroes | Review | 89 | Shire Records |
 |
Kevin Lee | Loaded | Review | 85 | Big Blast |
 |
Zinny J Zan | City Boy Blues | Review | 80 | Fastlane |
 |
Electric Magic Sideshow | Good Enough For You | Review | 70 | Fastlane |
 |
Airborne | The Dig | Review | 82 | Song Haus |
 |
Cry Havoc | Fuel That Feeds The Fire | Review | 75 | Chavis Records |
| ARTIST | ARTIST |
TITLE |
LINK | SCORE |
LABEL |
 |
Shiva | Shiva | Review | 90 | Z Records |
 |
Various Artists | Rock The Bones | Review | 92 | Frontiers |
 |
Talisman | Live At Sweden Rock | Review | 86 | Empire |
 |
Matchbox Twenty | More Than You Think You Are | Review* | 92 | Atlantic |
 |
Eric Martin | Pure | Review | 85 | Pony Canyon |
| ARTIST | ARTIST |
TITLE |
LINK | SCORE |
LABEL |
 |
Unruly Child | The Basement Demos | Review* | 93 | Frontiers |
 |
Harem Scarem | Live At The Gods | Review* | 86 | Frontiers |
 |
Final Frontier | The First Wave | Review* | 85 | Z Records |
| ARTIST | ARTIST |
TITLE |
LINK | SCORE |
LABEL |
 |
SR-71 | Tomorrow | Review* | 83 | RCA |
 |
Paul Shortino's The Cutt | Scared Place | Review* | 85 | MusicWorks |
 |
Boston | A Tribute To Boston | Review | 91 | Escape Music |
 |
Ronni Le Tekro | Extra Strong String | Review | 80 | Escape Music |
 |
Venice | Welcome To The Rest Of Your Life | Review | 86 | Columbia |
 |
Biloxi | Right The Music | Review | 89 | MTM |
 |
Axel Rudi Pell | Knights Live | Review | 88 | SPV |
 |
Jimmy Barnes | Live At The Chapel | Review | 40 | Thames Thompson |
 |
Fatal Smile | Beyond Reality | Review | 85 | GMR |
| ARTIST | ARTIST |
TITLE |
LINK | SCORE |
LABEL |
 |
Joey Tempest | Joey Tempest | Review* | 62 | Universal |
 |
Mark Boals | Edge Of The World | Review | 82 | Frontiers |
 |
Evidence One | Criticize The Truth | Review | 91 | Point Music |
 |
Sugarcreek | Fortune / Rock The Night Away / Live | Review | 89 | Escape Music |
 |
Hirsh Gardner | Wasteland For Broken Hearts | Review | 58 | MTM Music |
| ARTIST | ARTIST |
TITLE |
LINK | SCORE |
LABEL |
 |
Bret Michaels | Songs Of Life | Review* | 78 | BretMichaels.com |
 |
Tonic | Head On Straight | Review | 82 | Universal |
 |
Byrd | Anthem | Review | 79 | Lion Music |
| ARTIST | ARTIST |
TITLE |
LINK | SCORE |
LABEL |
 |
UFO | Sharks | Review* | 70 | SPV |
 |
Boston | Corporate America | Review * | 80 | Artemis |
| ARTIST | ARTIST |
TITLE |
LINK | SCORE |
LABEL |
 |
Westworld | Cyberdreams | Review * | 98 | Z Records |
 |
Bon Jovi | Bounce | Review * | 84 | Island/Mercury |
 |
Sammy Hagar | Not For Sale | Review * | 91 | 33rd Street |
 |
Toto | Through The Looking Glass | Review * | 65 | EMI/Capitol |
 |
Jeff Scott Soto | Prism | Review * | 95 | Frontiers |
 |
Poley-Pichler | Big | Review * | 93 | Z Records |
 |
Robert Fleischman | World In Your Eyes | Review * | 83 | Frontiers |
 |
Genius | Rock Opera - Episode One | Review * | 89 | Frontiers |
 |
John Farnham | The Last Time | Review | 55 | BMG Australia |
 |
Avril Lavigne | Let Go | Review | 88 | Arista |
 |
Soul Doctor | Systems Go Wild | Review | 70 | NTS |
 |
Morning Wood | Tony Harnell's Morning Wood | Review | 92 | Escape Music |
 |
Hughes Turner Project | Live in Tokyo | Review | 90 | MTM Music |
 |
Alfonzetti | Machine | Review | 86 | MTM Music |
 |
Street Talk | Restoration | Review | 88 | MTM Music |
 |
Rondinelli | Our Cross Our Sins | Review* | 92 | MTM Music |
 |
TaxiRide | Garage Mahal | Review* | 93 | Warner Australia |
 |
Ted Nugent | Craveman | Review* | 90 | Spitfire Records |
 |
Yngwie J Malmsteen | Attack!! | Review* | 87 | Pony Canyon/SPV |
 |
Vaughn | Forever Live | Review | 82 | Z Records |
 |
Silver | Dream Machines | Review | 80 | Point Music |
 |
Shameless | Splashed | Review | 78 | AOR Heaven |
 |
Brad Love | Through Another Door | Review | 86 | Song Haus |
 |
Chalice | Chameleonation | Review | 83 | MTM Music |
 |
Eternal Flame | King Of The King | Review | 79 | MTM Music |
 |
Logan / Robertson | Revisited | Review | 85 | OniLogan.com |
 |
Adriangale | Re:Program | Review* | 93 | Z Records |
| ARTIST | ARTIST |
TITLE |
LINK | SCORE |
LABEL |
 |
Jeff Scott Soto | Holding On | Review | 90 | Frontiers |
 |
Kingdom Come | Independent | Review | 72 | Ulftone |
| ARTIST | ARTIST |
TITLE |
LINK | SCORE |
LABEL |
 |
John West | Earth Maker | Review | 90 | Frontiers |
 |
LA Guns | Waking The Dead | Review * | 93 | Spitfire |
 |
Dave Meniketti | Meniketti | Review * | 87 | Dream Catcher |
 |
Jack Russell | For You | Review * | 89 | Knight Records |
| ARTIST |
TITLE |
LINK |
LABEL |
| Hardline | II | Review * | Frontiers |
| Journey | Red 13 EP | Review * | Frontiers Records |
| Eric Martin | I'm Going Sane | Review * | Frontiers |
| Crown Of Thorns | Karma | Review * | Point |
| Rush | Vapor trails | Review * | Anthem/Atlantic |
| Butch Walker | Left Of Self Centered | Review * | Arista |
| Robert Plant | Dreamland | Review | Mercury |
| Phil Naro | Glass Mountain | Review | Z Records |
| Fury | Fury | Review | Escape Music |
| Aerosmith | tribute To...One Way Street | Review | Mascot |
| Billy Idol | VH1 Storytellers | Review | Capitol |
| Needle Park | C'Mon Get Real | Review | Fastlane |
| Ralph Santolla | Shaolin Monks In The Temple Of Metal | Review | Frontiers |
| Lost Weekend | New Religion | Review | Frontiers |
| White Skull | The Dark Age | Review | Frontiers |
| Cornerstone | Human Stain | Review | Massacre |
| Brighton Rock | A Room For 5 - Live | Review | Z Records |
| Mydra | II | Review | AOR Heaven |
| Bruce Springsteen | The Rising | Review * | Columbia |
