| Bang Tango From The Hip | Perris Records |
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This is another album I have had trouble warming to. Basically I haven't got a lot of patience for albums that don't sound as sonically good as they should these days and the new Bang Tango is perhaps the roughest release of the band's career. I absolutely adore Dancing On Coals, that album was a truly original piece of work in a time where there were a lot of carbon copy bands making waves. Of course this is a completely different line-up than back in the heyday. The guys at times capture the spirit of the original band on occasion, while at other times they move towards a rougher punkish delivery. I think the thing here is that I'm just not sold on the songs. The opening rocker It's All Ok works pretty well as does the mid-album Mother Mary and Get Used To It, but elsewhere, such as One More Spin, Go Go Go and the very rough Carry Me Up don't work for me at all. And at a mere 31 minutes playing time, there is no room for fillers at all. |
| Quiet Riot Rehab | Chavis Records |
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I have had this for a few weeks now and I'm still not sure what to make of it. I think I must just accept that it is not for me. I have read several reviews for the album, all of which are very positive. And I can see where these people are coming from, as the record has a definite style and feel and I think the band has realized their goal of making a new record with a fresh sound and brining the band into the 21st Century. But, personally speaking, I'm not sure I want to be there with them. I still have fond memories of the band's old school sound and to hear them modernize with tuned down guitars and a certain retro flavored classic rock meets 70s blues feel is something I'm not getting into. The record has a very organic live in the studio sound, and singer Kevin DuBrow sounds pretty good in this setting. I think once you get your head around the style change and the new heavy, raw sound, things improve and there are some strong songs on offer. However I can imagine some folk won't get that far as this is a very different beast to the Quiet Riot we all remember. |
| Royal Hunt 2006 Live | Frontiers Records FRCD314 |
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Royal Hunt's new "live" album features 15 tracks and 90 minutes of music over the two discs. But what is on offer is pretty good stuff, even if it the release is aimed squarely at established Royal Hunt fans. The tracks picked concentrate on the John West era of the band, with a few old classics thrown in for good measure. West covers those as he does everything with gusto. He is one hell of a singer and I enjoy everything he appears on. This live set also features new members Kenneth Olsen (drums), Per Schelander (bass) and Marcus Jidell (guitars). The band doesn't skip a beat, with mainstay Andre Andersen still running the show. Recording quality is very good, although a little on the raw side, which I state as a positive, as I hate polished and overdubbed live albums, unless that is part of a concept. So, the record feels nice and live and there is plenty of energy coming through the speakers, helped by an enthusiastic audience. The show was recorded/filmed at St. Petersburg's Music Hall in Russia new frontiers for the band that has been going well over a decade now. Then there is the DVD. Film quality is good the new line-up of Royal Hunt can be seen enjoying themselves and hammering out the classics. It is a solid live show and decent quality DVD release. By now most will be aware that I had reservations about the lead vocals - not the quality of them - but the fact that the pictures are sometimes out of sync with the audio coming through. That lead me to believe that perhaps they were fixed after the fact - it happens all the time, but in this case John West personally guarantees that everything you hear is 100% live, which is why he should be applauded for a great performance, and why I enjoyed the CD as much as I did. I still have an issue with the out of sync pictures, which for me does take away from the overall enjoyment of the DVD portion of this live release. I will stick to the CD when I need a fix. I know some fans agree with me on this and some others disagree strongly. It will come down to personal taste as to whether these few problems take away from the release, but it remains a quality performance by the band. |
| Hotwire Devil In Disguise | NL Distribution |
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German melodic rockers Hotwire return with a new release that I think will find a place with fans of European melodic hard rock and especially the already established fans of the band. The band delivers a strong set of songs some a little heavier with a strong groove and some more lightweight poppier numbers. When they rock, I got a small taste of House of Shakira and at other times a more Bonfire style German melodic rock. The band works best when on an uptempo setting; I didn't enjoy the mellower tracks as much, even though the ballad Wonderland has a nice AOR hook and melody. Hot Love is also skippable as it features a totally and obviously programmed sound. Interesting that the guys should cover the Jimmy Barnes classic Ride The Night Away cool song, but doesn't really work with a German accent. The rockers Skytrain and Escape are two examples of the band doing their best work, as is the excellent opening rocker Waterfalls. A solid album, but a little up and down as far as style and impact. |
| Suzi Rawn Naked | SonyBMG 82998-20966-2 |
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This is a great little modern pop/rock release for anyone out there that wakes up one day and feels like hearing Harem Scarem with a female vocalist. Except we aren't talking Mood Swings or Human Nature here we are talking Harem doing their Rubber style modern rock or more precisely a sound that falls into comparison with Harry Hess' solo album Another Day and Pete's own Fair Ground project. This is produced by, played by and in part, co-written by Harry Hess and Pete Lesperance and features a very commercial modern pop sound that Harem fans will know all too well. The vocals of Suzi Rawn (Canadian Idol finalist) are very welcomed and she works the material very well. Some of this is pure Harem Scarem, even to the point that she covers two Harem tracks brilliantly (and poppier) Don't Come Easy and Understand You (both from Overload). Pete's guitar tone is unmistakable, so if you love the Overload album, the band under the Rubber moniker and the guy's own solo projects, then this is utterly essential. If you are more old-school Harem, then take a listen first. |
| Bombay Black Anger Management | Kivel Records KR0031 |
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I like this album a lot it beats the band's debut for songs, production and energy. This American melodic hard rock outfit knows a good time and is happy to let you come along for the ride on their good fun party rock album, filled with tongue in cheek lyrics and in your face riffs. Highlights include the opening trio of songs - the rocker Without You and the poppy Better Off Dead (again with those lyrics!) and the very melodic Out Of Your Mind. More fun with Every Time I Think Of You and then there is the album highlight the big in your face Forget About It. The good fun, old-school rock n roll continues throughout the album undoubtedly a more consistent and quality filled release than their debut, which I thought had potential, but not quite the songs. The guys close the album with an acoustic driven bonus track titled U Suck, which is more fun and games at someone else's expense. Having had the recent advantage of seeing the guys live, I was surprised to see how incredibly energetic the band was on stage and was amazed at how heavy these songs sounded live. All I can say is that the next step for these guys on their way to stardom is to capture that raw energy on stage and have it translate into the studio. Do that and the guys will deliver a killer record. |
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Tribe Of Gypsies Dweller On The Threshold |
Indie |
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The guys deserve a longer review than this, especially give that their sound is so complicated, original and not easy to describe. If you know the band, you know their style and let me tell you that the new album delivers everything they are renowned for and the quality of the songs and production is everything fans would hope for. If you are new to the guys, track 1 might suggest to you that they are a metal band with tribal influences which of course, is true to a point, but there is so much more. They are a very diverse outfit that rock, but with strong Latin and South American influences, much of which comes through in the band's intense and complex percussion arrangements. But that is just the start of it. There's modern rock, Sanata like classic rock, soulful ballads and straight ahead rock all featured here. Ride On is a menacing rocker to open the album; Desolate Chile is eclectic rock; while Stop Bombing Each Other is the band at their most diverse. The ballad Halo sees a more soulful side of the band come to the fore, but still the complex percussion base remains, not to mention the delicate guitar work of Roy Z. Perfectly produced, never stagnant in its delivery and certainly not for everyone, but one hell of an interesting listen. |
| Black Label Society Shot To Hell | Band Of Beer Inc. |
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Zakk Wylde at his brutal best. We al know he can't sing but we're over that now right? Shot To Hell ranks as one of Zakk's best records to date and sees him in full swing following on from the very good Mafia release. There's nothing new on here that we haven't heard before, but it is done well and the songs are as strong as ever. I like his style and I love that guitar tone all we need is another classic Ozzy album with Zakk as the true partner in crime. If you enjoyed the last coupe of albums, then this is more fine attitude laced metal fare. |
| December Radio December Radio | Slanted Records CMD1113 |
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December Radio are doing all the right things afterall, they have a Grammy nomination now. They are modern rock, but this still struck me as heavier than your average modern rock outfit. The guitars are tuned down, the vocals are familiar and the sound all very contemporary so much so that you can hear this on radio but there is also that heavier elements that might appeal to more than modern rock fans. There are some big rock moments here (Can't Hide, Greed, Table), and then on the other hand the guys turn in a very commercial ballad with an acoustic base (Drifter, Least Of Three). So mix a little Pearl Jam, a little Nickelback and some AC/DC riffing and you might get something close to these guys. Interesting sound and some accessible, commercial songs on hand for modern rock fans. |
| Anarion Unbroken | Majestic Rock Records MAJCD074 |
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Australian metallers Anarion further prove that Melbourne is the metal capital of Australasia. This is a powerful, traditional style metal album that fans of Iron Maiden would easily appreciate. The 9 track, 45 minute album is super intense and filled with a double kick-drum assault that Accept would be proud of. I like the fact the vocals are strong and commanding, occasionally reaching for a scream, but in most cases, holding a firm tone and a good melody. The guitar work is pretty special too lots of riffs and lots of solos. Again a brief review, but definitely an album worth checking out for fans of traditional melodic metal such as Maiden and Priest. |
| MSG Tales Of Rock N Roll | Armaggedon Music |
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I should have reviewed this months ago, but I just couldn't face it. I know there are some die-had Schenker fans out there that will take great offence to this, but this album is dull. Not even the track featuring my favourite MSG vocalist Robin McAuley can inspire me. This is simply Schenker by numbers certainly not a fitting tribute to 25 years of (mostly) amazing rock n roll. It seems each release gets worse for Mike, so where to from here? I know I'm not alone in this view as I have read all the reviews I can find of this overly long record none of them are great. And what was Michael thinking in joining all the songs together? It's hard enough telling one track from another anyway this sounds like one long hour long song. Sorry, but I long for the days of UFO or even Perfect Timing perhaps. |
| Bob Seger Face The Promise | Capitol Records |
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Faced with the promise of new material, I was really excited to hear this album. But much like the Tom Cochrane album just reviewed, the best part was the anticipation built up over years of waiting. Sadly the finished product could not deliver. The album sounds great and Bob himself is in fine voice and there too are some fine songs within this album. Just not enough of them and not of the quality we have been previously spoilt with. And with so many releases to listen to across a wide range of styles, I simply found that I wasn't interested in returning to this album after the first couple of weeks. That says it all really. If the class of Bob Seger cannot draw me back in, then there must be issues with the songwriting. I hope it isn't as long between the next album as it was for this one. All in all, nothing bad at all....just a little safe and predictable. |
| Various Artists Rock The Bones Volume 4 | Frontiers Records FRCD310 |
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Frontiers Records releases the latest in its line of compilation albums this one Volume 4 of the Rock The Bones series.
31 tracks are featured over 2 discs, the first concentrating on recent releases, such as John Waite, Ten, Glenn Hughes, Survivor, Shark Island and Shooting Star to name a few. The second disc features songs from just released albums and a couple coming up in January, offering a nice advance taste of albums from Hartmann, Jorn, Kelly Keagy, Danny Vaughn and just released tracks from Slamer, Talisman, Winger and Pretty Maids. All in all, a good value compilation if picked up cheap and chock full of mostly high quality melodic rock and AOR. No unreleased material however will make this irrelevant for those likely to purchase many of the albums featured. |
| Various Artists MTM Music 10th Anniversary | MTM 0681-175 |
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Same deal for this compilation this time it is MTM's turn to gather the best of their recent and upcoming releases to showcase. Featured here are new tracks from Zeno, Shiva, Jani Lane, AOR and Rain. Two bonuses here the inclusion of unreleased bonus tracks from Fate, Relapsed, Silver and Vengeance offer something for fans to collect, although several other tracks are also marked unreleased merely because the corresponding albums have not been issued yet such as Brett Walker and Robert Louden. The second bonus is a second CD of 15 tracks, promoting the best tracks of MTM's last 10 years. Can't say I agree completely with their selection the label has been responsible for a whole host of killer tracks over ten years, but there are some genuine highlights here from the likes of Danger Danger, TNT, Rick Springfield, Dare and Jaded Heart. No unreleased material on the second disc. Both compilations here offer something similar, yet different, but both offer a generally good oversight of some quality melodic rock. Check them out...then buy the albums! |
| Donnie Iris & The Cruisers Ellwood City | Primary Records PRI416 |
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American rocker Donnie Iris returns after a 9 year hiatus with a fired up new studio album that sees Donnie rocking in fine form. Also returning is the band's original drummer Kevin Valentine (Cinderella, Kiss). The record is diverse in that it moves from rock n roll to soulful pop to straight ahead commercial ballads. Then there is the few left turns such as the boogie influenced Rocque Fantastique. And I'm not sure about the cover of Soul Man though especially as the album's second track. Seemed out of place to me and killed the momentum of the opening track. I think Iris fans will walk away happy and content that their man is back and sounding like he never left. To an outsider however, this rather odd collection of pop rockers might be a little hard to get into. |
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John Farnham Whispering Jack 20th Anniversary Edition |
SonyBMG 88697027122 |
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Australian AOR icon John Farnham was a mainstay of the Oz music scene before Whispering Jack was released some 20 years ago, but it was this album that made John a household name and indeed, an entertainment icon downunder. This remains the biggest selling Australian album of all time and deservedly so. The high-tech AOR/pop album has a gently-does-it appeal that saw every man, women and even a few kangaroos own a copy. Now 20 years on it has been remastered and repackaged with a bonus live DVD from the Whispering Jack Tour. The DVD has been available previously as a VHS tape and broadcast on TV and remains a classic live concert to watch the power of this man's voice is insane. This release makes for a great package and the mid-price tag makes it even greater value for lovers of 80s high-tech AOR. |
| Twisted Sister Twisted Christmas |
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If you are going to do a Christmas album if you really absolutely must do it then this is the way it should be done. Twisted Sister have always played up to an image and this CD continues that trend, this time rearranging some Christmas classics to now rattle along to the original music of past Twisted hits. For example the band's best known hit We're Not Gonna Take It is now O Come All Ye Faithful also the first single from the release. It is a bizarre listen and at best is a lot of fun if not taken seriously. At worst it is perhaps a little tragic, but hey, it's the holiday season, so you have to give the guys a little slack! Above all, it is well produced and sounds ok, so if you are looking for some hard rock to ring your Christmas bell, you best be advised to check this one out. |
| Billy Idol Happy Holidays | Bodog Music |
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If you are going to do a Christmas album if you really absolutely must do it then this is the way it should not be done. This is utterly horrendous. Shite even. When Billy Idol is thinking clearly and on song, he rules - Whiplash Smile, Rebel Yell, Devil's Playground. But he is capable of making some questionable decisions through his career Cyberpunk being the most obvious. But now there is this new gem! What the hell was he thinking? Ok, so there is a market for Christmas albums, but who in their right mind wants a punk/hard rock icon to do an utterly and totally serious Christmas album? Why not rock or punk it up in the same vein as Twisted Sister has? Billy Idol is all out on his own here no wonder, as I would think his band ran for the hills when presented with the concept for this record. So, a solo Billy proceeds to run through 17 (yes, 17) Christmas favourites, all completely serious and all completely devoid of any kind of Idol type attitude. Billy Idol does Frank Sinatra doing White Christmas, Silver Bells etc, not to mention the gem Frosty The Snowman! (?) Good God! If you want a nice, family friendly, sweet and cheesy Christmas recording, buy Frank Sinatra. If you want rock n roll attitude, buy Twisted Sister, A Very Hairy Christmas, Lukather's Santamental or the Screaming Santas. Do not under any circumstances, buy this. |
| My Chemical Romance The Black Parade | Reprise |
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This is a thoroughly enjoyable modern rock album which mixes the popular modern punk-rock sound of bands like Green Day with a more complex classic rock style that brings influences like Queen, Meatloaf and Styx into play. The album is riding high atop of many charts around the world, which is no surprise given the style and the look of the band extremely commercial and contemporary to say the least. It's a great album for what it is commercial modern rock but what I really love about this release is that it is exposing kids to some music which isn't filled with simple, throw away riffing. It is showing a younger generation that music is much more than a 2.5 minute pop song and that it can be far more complicated, layered and in-depth. Take the lead single Welcome To The Black Parade. While the delivery is borrowed from Green Day, the band's songwriting depth is evident with Queen-like pomp and guitar parts and Meatloaf tempo changes, not to mention Styx-like layered vocals. Definitely a promising sign that there is an audience for a rock band that doesn't go by the book well, not at least the current book. |
| Harem Scarem Human Nature | Vespa Music |
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You can say what you like about any perceived bias towards Harem Scarem over the last few years in my reviews, but take a look at their creative output over the years especially in the last 4 years since they took up the Scarem quest again they are simply untouchable! The band has appealed to just about all melodic rock lovers over the years, so with each release there is a wide discussion about styles, sounds and individual preferences for different records throughout the Canadian bands career. Everyone has their favourites, and I continue to be blown away by their consistency. You can guarantee that every album will feature at least several new classic melodic rock songs and a few fresh twists too. This band keeps it interesting and for me, they deliver everything a melodic rock fan could want in a new record soaring vocals, big choruses and a huge production every time. Preferences for direction and style aside, you cannot argue that each and every Harem Scarem record is the pinnacle of melodic rock quality. The band's last few albums have been extraordinary and I'd stack those albums up against any other artist for consistency. I feel of lot of what I have just written is for the purpose of justifying my enthusiastic endorsement of their music but the fans don't need any convincing so onto the contents of Human Nature. Harem Scarem have in the past received a few less than stellar reviews from me (the first Rubber album for instance was a little hit or miss, as was Big Bang Theory), but this is another total class release as far as I see it. I said the same of Overload, but to my surprise, the majority seemed to disagree on that one! I guess many did not appreciate the band's move into darker, less commercial realms, but as a fan of the much underrated Voice Of Reason album, I saw Overload as a natural mix of the past and the band's more recent work. And I have always dug Harem's underlying dark vibe. My views aside, the voice of the fans reached the band. Human Nature is therefore classic Harem Scarem in every sense. This is a far more melodic release and sees the band pump out some huge AOR harmonies, while mixing the production style and direction of recent work such as Weight Of The World and Higher. A band that has been recording this long is not likely to copy any one style, instead finding their music evolving into a mix of everything from their past. Human Nature is just that its part Harem Scarem, part Weight Of The World, part Higher, part Mood Swings and even part Rubber, but always melodic and filled with hooks. Track By Track: Album number 11 opens with that familiar guitar sound we've come to love and we are away. Human Nature isn't in the band's usual style of opening with a punchy rocker. This is a mellower starter that builds to a glorious classic harmony filled Harem Scarem chorus. Making the point that this album is less on the hard rock and more on the melody, the title track does the job perfectly and becomes yet another instant Harem classic. Next Time Around is a little more urgent and rolls along at a nice pace. Once again, it is a perfect example of a great pop song and does what these guys do best gets to the point quickly. A mellower verse again gets rocking come chorus time - one I might add has a definite Mood Swings and Higher feel to it. The rock ballad Caught Up In Your World features another warm and inviting vocal from Harry, introduced by a hard edge riff, which returns for the chorus. This is an emotional track that features some fine guitar work from Pete. Reality is a straight forward mid-tempo melodic rocker in classic Harem style, with another great riff and melodies flying everywhere. The chorus reminds me of the very melodic run of tracks on second half of the Higher album. Hanging On is an absolute monster ballad. This track rivals the best ballads the band has recorded in their illustrious past and overflows with passion and emotion. I love it and rate it as one of the best ballads of recent times. Comparing the band's recent ballads, this is better than All You're Getting (from Overload) and Higher (from Higher) and is up there with This Ain't Over (from Weight Of The World) for class. The bridge and harmony vocals just add to the power of the song, which features a very demanding lead vocal. Don't Throw It Away returns the album to a slightly rockier path, but still bathed in melodies. A punchy riff is accompanied by a swathe of harmony vocals and the chorus is another big and classic melodic Scarem anthem. Just as every Harem album in recent times features some injection of more modern influences, so to is there a track borrowing from Queen. The moody and mellow rocker Give Love / Get Love is such a track. It's familiar, yet a little different at the same time and the punchy chorus is a clear tribute to the vocal styling of Queen. From there we delve into this album's modern rocker 21. This moody and harder hitting track is reminiscent of the style and mood created on Overload. It isn't as melodic as much of the rest of the album, but has its place and as already stated, I do like the darker side of the band. Starlight is typical of the band and won't be of any surprise to long time fans. It is of course, another solid track and acts as the required light and breezy melodic rocker with the catchy chorus, designed to punctuate the more left of center tracks around it. Going Under is a great catchy commercial modern melodic rocker and although it compares with the band's second Rubber album (Ultra Feel), it is so instantly catchy, I can't imagine any Harem fan not digging this. Tomorrow May Be Gone closes out the European release in perfect and absolute magic form. This uptempo melodic rock anthem mixes up those Mood Swings influences with something like Killing Me from Weight Of The World and Lost from Higher. One of the best tracks from the new album and a smashing way to finish any record.
There are always calls for the guys to repeat their classic Moon Swings album, but they haven't yet and without that line-up back in place, they are unlikely to either. Rather this line-up has delivered the best possible fan pleasing album they can and I believe that has been achieved. Not quite a perfect record and perhaps nothing we haven't already heard from the guys, but hell, they just do this stuff so well. PS. I just got through listening to Overload again man, I still love that record!
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| Zion Zion | Frontiers Records FRCD313 |
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Zion is the comeback vehicle for Canadian AOR legend Freddy Curci. Freddy's career harks back to the late 70s with Sheriff, but is best known and best loved in these circles for the utterly classic Alias album. Two solo albums and the heavily traded demos for the unreleased second Alias album only added to the aura surrounding Curci's famed pitch-perfect vocals. An announcement many moons ago about a comeback rock album from Curci raised a lot of interest and a great deal of excitement. But how long have we now waited for this release? The most recent update on Freddy's very up to date website is from 2003 and states that Zion is nearing completion! So after more than 4 years waiting, it is with great anticipation that Zion is finally delivered to hungry fans. And because of that anticipation, there is going to be great disappointment upon hearing this album. It is simply not of a standard you would expect from someone of Freddy's pedigree and background. It disappoints in almost every department - from the average production quality, to the lack of killer songs to a very sub-par vocal performance, which at times is hard to listen to. Since the original announcement, Curci has suffered health problems where he feared he wouldn't be able to sing again, but why exactly this album took 5 years to complete is anyone's guess. It certainly doesn't sound as if 5 years of effort went into it. And I say that with a very heavy heart, as I am a huge fan of Freddy Curci. I own everything and when I interviewed him a couple of years back, I found a very warm and humble guy to talk to. But the hard fact remains that this album is simply not what it should be. The original master was so bad I considered it unlistenable. Since then the recordings were sent to producer Dennis Ward to be remastered. Ward did a good job there he evened out the album's sound and gave it some sense of professionalism. But while he can remaster the sound, he can't re-record some of the performances within, nor could he re-write some of the songs. And frankly, some of the production still suffers here, with poor tones affecting guitar and drum parts and lead vocals that at times sound as if they were recorded in a shed. It's all very upsetting for me as a long time fan to state these facts and I imagine just as upsetting for the poor record label that invested considerable money and time in this venture. Track By Track: All It Takes Is A Minute should be a contender for Song Of The Year. But it's not because it is simply assembled badly. I could forgive the hollow guitar sound and the crappy repetitive cymbal noise, but the chorus which really could have been a monster comes and goes with little effect due to some poorly arranged vocals and out of place harmonies. Then there are Freddy's lead vocals, which at times sound as if they were recorded in the shed out back, and at other times sound horribly strained. A tragic, if not criminal waste of a potentially great song. How Much Longer Is Forever is a new version of a track recorded originally for the second Alias album. Again the song suffers sound issues, it appears muddy and a little muffled, again with the vocals being the worst offender. To be honest, the original demo is far superior in quality. On that track Curci's vocals are amazing. They simply are no longer what they once were. The second half of the album has some more redeeming features, but for now it just gets worse. The modern rock influenced One Man Alone is horrible. And overly loud and bombastic intro is simply messy and the vocals are nothing less than painful to listen to. They are strained to the point of being unlistenable and clearly out of tune in other places. The uptempo rocker Dangerous is a little easier on the ears. The sound is still muddy and the guitars hollow, but at least the vocals sound more comfortable. I'm Running Home sees the required elements of a good song align more favorably. This is a big rock ballad with a catchy chorus and a nice pick up in tempo towards the end. I'm not sold on the guitar sound, but there is some nice soloing here. Everybody's Watching is possibly the heaviest thing I have ever heard Freddy sing and I like that vibe. The sound is still muddy, but the song at least has real attitude. This features a tough vocal and considering the earlier tracks, I am surprised Freddy holds it together. No Surprise is produced by Fabrizio Grossi and has that all too obvious guitar/drum sound he carries everywhere with him. A little modern rock influence creeps in here again including some vocal effects. The song really doesn't feature any great hook and is pretty forgettable. The Sky Is Falling is a straight ahead melodic rock with a terrific chorus and a better sound that I wish was carried through the whole album. The Devil's Dance is an intense mid-tempo ballad with a great lyric, solid hook and some passionate vocals at last. Who Do You Think You Are is another dark rocker with strong harmony vocals and a decent lead vocal. There's an Alias vibe to the track, but updated for the current year. Crash The Mirror is the darkest and most confronting song of the whole album. A great way to close out the record the slow, moody and intense rock track features a piercing vocal that I wish there was more of on the album. It's not the Freddy Curci of old, but the song has balls.
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| Cosmo Alien | Frontiers Records FRCD312 |
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The name Cosmo is now synonymous with AOR legends Boston. Fran Cosmo is of course one of the main voices behind Boston's last couple of studio albums and was frontman for Orion The Hunter (formed with Boston's Barry Goudreau). On the last studio album Corporate America, Fran was joined by son Antonio (or Anthony), a partnership they have continued on into their own band. Naturally with so many connections to Boston - a band that defines classic rock one could be forgiven for expecting the musical output of Cosmo to be of a similar nature. No so. Herein lies a challenge to the record label. With expectations of a classic rock themed album along the lines of the bombastic, melodic bliss of Boston, how does one advise that this album is nothing like Boston, nor in the same musical realm? If anyone buys this album on the strength of the name alone, with expectations of what they guys have delivered in their roles with Boston, you risk disappointment. Cosmo is not pink and fluffy Cosmo is a modern rock band and in keeping with that, Alien is filled with tuned-down guitars, at times aggressive riffing and modern rock production effects. There are a couple of melodic tracks here not surprisingly they are the highlights of the album for me. The heavy rock ballad Don't Tell Me Your Lies has touches of classic, pomp and modern rock plus those Boston harmonies, and quite an epic feel. The chorus vocal is something else too. Helicopter is an acoustic driven pop rock ballad with a glorious chorus and some well-timed lush harmony vocals. Woman is also more melodic rock friendly, but compared to elsewhere on the album, these songs almost seem out of place. The consistent theme throughout the record is for aggressive riffs, a Led Zeppelin-goes-modern rock style of sound. Go no further than the opening track Communication for an updated tribute to the kings of hard rock. When I Close My Eyes and No Surprise are highlights of the modern portion of the album, but the rest are largely forgettable for me. The songs and more importantly, the choruses are just not consistently strong enough. And that I think is the album's biggest problem lack of killer songs.
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| Rain Stronger | MTM Music 0681-178 |
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In order to review the second Rain album I had to return to the 2002 debut to refer my memory. That album has always been held in high regard by myself, but it is quite a different animal than the new album Stronger. In fact, it wasn't until I completed my playback that I realized how different it was. There are many common threads between the records the line-up being the most obvious but both records have distinctly different feels. The debut was a catchy little album that featured a predominately acoustic base. It was written mainly by guitarist Lars Forseth and album contributor Sonny Crow. Then there is Stronger an album that generally sounds as if it is a heavier affair with a more contemporary sound and a much more pronounced contribution from singer Michael Bormann. He is responsible for delivering 5 songs himself and is involved in co-writing the rest of the material with lead guitarist Tore Moren and the rest of the band at times. The album's heavier edge is driven by a more obvious electric guitar component. In fact, the acoustic side seems toned down and then there is the darker more contemporary tone in place on several tunes that's to start with though. As you get to know it, the album mellows somewhat and you can hear elements of the debut shine through. Track By Track: Do You Like It is somewhat of a surprising track to kick off the album - dark, slow, heavy and nothing like anything from the debut. It's probably a good choice then, as it sets up the feel and general approach of the album as a whole. The song itself features a strong, memorable vocal and although simple, the chorus remains catchy. Insobriety lifts the tempo a little and isn't quite as dark as the opening track. There's definitely a Jaded Heart feel about this one which takes a few listens to appreciate. Get Over It is intense. That menacing guitar tone returns and the piano part is almost spooky. The track picks up speed and while the chorus isn't big or instant, it makes its point. This is probably a good point to lighten the mood a little and Crazy does just that. A little acoustic works accompanies a strong verse melody and the catchy chorus sees electric guitars beef up the sound. I'd Die For You is a pure power ballad with all the trimmings. A slow intro, a build up to a powerful ending, an emotional vocal and chorus this could have fit easily onto any Bon Jovi album of the last 10 years. Flesh And Blood has that darker vibe again, yet a relatively free flowing tempo. It also features a great raspy vocal, some nice harmonies and a very strong chorus. It is one of my favorites of the album. Let Me Be Your Favorite is a straight ahead melodic hard rocker and positioned well within the album. The Other Side is another very fine power ballad and comes at a juncture in the album where things take a softer turn. Deserve It is a feel good melodic rocker that could easily have come from the debut. Right By Your Side is a largely acoustic driven track that gives Bormann a chance to shine with a killer vocal. It also gives the last part of the album a vibe similar to that of the debut. Lovesong closes out the album with another ballad but this time a more uptempo rock ballad that again sounds like it was recorded for the last couple of Bon Jovi records.
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| RockStar Supernova Supernova | Burnett/Epic |
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The much talked about second season of RockStar ended as most had guessed with the pre-picked Lukas Rossi "chosen" as the band's singer, edging out 15 other contenders. The show was thrown together in the weeks approaching deadline as the band producers really wanted (Alice In Chains) weren't interested. In flies Mr. Reality Tommy Lee, who through most of the show couldn't have appeared less interested unless giving a few of the female singers suggestive remarks. He brought one time GNR guitarist Gilby Clarke with him and also former Metallica bassist Jason Newstead. In the producers chair and helping arrange, write and formulate the debut album for the band was Butch Walker although he had the good sense to only appear on one episode of the TV show. The music for the debut album was recorded while the show ran and extra work -including (obviously) the vocals - was added towards the end and after the show. The result an album as equally confused as the show was and with about as much lasting merit. The biggest problem with this album is that is just doesn't serve anyone. Modern rock fans aren't going to buy this. Melodic rock fans aren't going to warm to the modern influences. Nu-breed fans will just buy a Butch Walker album and get the real thing and fans of Motley Crue, GNR and Metallica are quite likely to die laughing when they here songs as lame as Leave The Lights On. This gets my vote as the cheesiest song of the year and something that would never be seen on any other album featuring these guys. The opening track It's On shows a little promise, the modern rock vibe and gnarly vocal summing up vibe created on the Rock Star TV show. Be Yourself (and 5 Other Clichιs) is pretty good too but let's face it it's a Butch Walker tune that probably wouldn't have been deemed good enough to make his own solo albums. It's All Love is also an ok track if not a little bland a moody modern rock ballad that I could hear on radio and sees vocalist Lukas in good voice. Can't Bring Myself To Light This Fuse has the potential to be a monster ballad and features a surprisingly subtle vocal, but again, it sounds like a Butch Walker reject. Headspin made its debut on the show and is probably the band's best chance of any airplay. This is a solid commercial modern rock ballad. So they are the ok songs. Now for the songs that make you think WTF? Underdog is a horrible modern rocker out of step with the rest of the album, going nowhere and doing nothing for the album whatsoever. The chorus riff was the theme song for the show, but nothing else stands out as remotely catchy. Make No Mistake...This Is the Take is another lame track that sounds messy and without any redeeming hook. Valentine goes absolutely nowhere and Social Disgrace follows the same path. Bland and forgettable modern rock that could be attributed to any number of other bands out there. The album is pretty bad throughout, but guys save the worst for last. The Dead Parade is just horrid and one of the worst songs of the year. The chorus doesn't match the verse, the intro doesn't match the song and the bridge sounds like a piece of yet another song. Just horrible. There is just no personality on the record. The band was created out of nothing and clearly hasn't carved out a niche for themselves. Perhaps that will come from touring and then recording a second album, but if the first one fails and there is no record label, who would they actually make a record for?
I believe the biggest insult I could give the album is that it is largely pointless. It doesn't really cater to anyone and the song quality is that which would embarrass the members of the bands these guys are/were attached to. Despite talk of a follow-up album already underway, will anyone even care about this release enough to warrant a sequel? I say not.
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| Final Frontier Freelight | Escape Music ESM141 |
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Canadian saviours of pure, unadulterated 80s AOR, Final Frontier return for album number 4. It's the band's third label for their 4 albums, something I find a little perplexing. Granted the label involved for the first 2 albums was Z Records, but a band that delivers a high quality classic style AOR album at regular intervals, all of which are appreciated by fans, should not have to worry about what label they will be on from release to release. I hope that the guys find some comfort and satisfaction with current label Escape Music. In a sense this is a perfect album for Escape, a label built from a consistency on concentrating on AOR releases of a classic 80s nature. Final Frontier does not reinvent the wheel. They don't reinvent anything in fact. This is AOR by the numbers no surprises here, but no disappointments either. Fans of the band's first 3 albums get more of the same here. Freelight is perhaps a little tougher than the first three it features a more pronounced rhythm section and some impressive riffing from guitarists Mladen (Von Groove) and Lawrence Falconer. Mladen also provides bass and keyboards the latter of which is, as usual, all over the record. Rob Moratti as usual delivers his flawless high pitch vocals, really going over the top in a few places! He has one seriously high voice at times. The album really gets off to a flying start, with the first 4 tracks flying along at good pace. The title track Freelight and the moodier Foolish Pride work best of these tracks for me, but it is the classic AOR ballad of I Hope You Don't Mind that really delivers. Bringing back memories of mid-80s soundtrack hits, the sentimental ballad should be a fan favorite. Someone's Watching You is very close to the 80s sound of Survivor, as is the poppy feel-good All The Way. Nothing Is Easy is another very familiar sounding ballad, but the formula is fail-safe. I also rate the darker and more aggressive The Witches Mask and the second bonus track the emotional, stripped back ballad Delia.
If you haven't warmed to Rob Moratti's voice and the Final Frontier style through listening to their first three albums, then nothing Freelight offers will convince you to change your mind. But, if you have found a spot in your heart for these guys, the Freelight will definitely impress.
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| Riot Army Of One | Metal Heaven 00028 |
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Sometimes the best surprises come from expecting nothing. That's no slight on the good name of Riot or their long history, but I really didn't have any expectations either way upon receiving this album. But I've hardly stopped playing it ever since. With Army Of One, Riot have delivered one of the melodic metal highlights of the year. Once again I find myself pondering why some albums work and some don't. It all comes down to the songs. There are 12 great songs here and I like the way they have been sequenced. The album tends to flow from the harder rocking tracks to more melodic tracks and back again, but with a consistent guitar presence there to keep things balanced. There is the frantically paced opener Army Of One which leads into one of two very melodic songs, sandwiched between another solid hard rocker in Blinded. Those melodic tracks are: Knocking At My Door - a curious track to succeed the opening track, but it's infectious harmony filled feel good chorus is the perfect folly for the album's heavier intentions. Then the stand out melodic rock of One More Alibi features a terrific chorus with Mike DiMeo's warm and raspy voice doing a top job. It All Falls Down rocks at double-time again, moving into the soulful rock ballad Helping Hand. The Mystic then provides an excuse for guitarists Mark Reale and Mike Flyntz to duel at length. Shine is another great melodic metal track with double kick drums wailing and the voice of DiMeo powering along in a way fans of Mats Levin will definitely appreciate. The reflective instrumental Stained Mirror follows, which leads to the album closer Darker side Of Night - another solid rock track with a great melodic chorus.
You can't really explain that in words, but it just sounds like the band's confidence is high throughout the record. It's funny to review this with the knowledge that Mike has now joined Masterplan. That will prove to be an interesting listen sometime next year. In the meantime, enjoy this!
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| Tom Cochrane No Stranger | Universal Music Canada |
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Canadian Hall Of Famer Tom Cochrane is one of my musical heroes. Right up there with Rick Springfield and John Waite, Cochrane is a gifted singer/songwriter who has the ability (like those mentioned alongside him) to get directly to the heart of the matter and deliver moving, emotionally effective music be it when he is rocking, delivering a feel good pop rocker, or getting deep on a powerful ballad. I rate 1987's Tom Cochrane & Red Rider and 1995's Ragged Ass Road as absolute classics, with several other albums not far behind. That's why it breaks my heart to speak of this album as a disappointment, but it is in a big way. It has been 8 years since Tom's X-Ray Sierra and in that time it seems that Tom has caught old-man's disease. He has forgotten how to rock. Actually, I can forgive the lack of rockers on the album, as that is just one side of Tom's musical personality. But the album is weighed down by slow and lackluster ballads, and relies all too much on an acoustic tone instead of Tom's usual electric fired delivery. The album as a whole sees a more stripped down approach taken. There are few overdubs used and a more live-in-the-studio feel is present. Tom's done this before mind you he already has an acoustic live album to his name which worked a treat, but the songs here just don't hold up as strong enough. The album's opening track The Party's Not Over is a sure fire commercial hit and the albums only real uptempo rocker. Even here the more organic approach is evident, but the raw honestly in Tom's voice is a good trade-off. But from this point onwards it is all ballad territory. I'm quite fond of the second track Glide, which as the title suggests, glides through the speakers and offers fans a feel good mid-tempo acoustic driven sample of the more mature songwriter Cochrane has become. Next up While You Are Young might have done something for me especially with the classic slide guitar and old-school Cochrane feel to it but by the end of the album it gets lost among the sheer number of slow songs featured. White Horse is another song that on its own has a lot of merit a raw, honest vocal and a charming folkish influence, but in the scheme of the album has its impact limited. A slow track surrounded by slow tracks has difficulty in standing out. The adult contemporary mid-tempo rock song Didn't Mean is the first single an odd choice I thought, given the tempo. I should have guessed it meant that the album would not be what I was hoping for. I speak of my frustration with the dominance of ballads on this album. Two tracks that stand out as definite highlights match the slow tempo of the album, but offer something a little different. Rough and Tumble is an acoustic song, but it has some fire in its belly fitting it seems, as the song pays tribute to the Canadian troops fighting overseas and also makes several references to Cochrane's musical past. Great song Another ballad follows up next, but Out of My Head is one of the very best ballads that I have ever heard Tom Cochrane sing. Raw, emotional, heartfelt and a beautiful chorus. Deep Breath follows, unfortunately continuing the album's ultra slow pace, but without the hooks of the last couple of songs. It kills the momentum built by the tracks before it. Northern Star is better still acoustic driven, but with a little more spark, a strong chorus and finally some electric guitar too. The last three songs are 3 of the more interesting tracks I have heard from Tom and proof that he can still turn it on and deliver in a harder hitting style if he so chooses. The three songs run together, taking a similar musical theme of distorted guitar and bluesy vocal. Starting with Since You Left Me, the song swaggers through to the instrumental Colour Blue and into a cover of the psychedelic 70s rocker Spirit in the Sky. I really don't like that song (probably due to ass-silly cover of it recorded in the late 80s), but I respect what Tom has done with it here and in sequence with the other 2 tracks, works a treat.
I sure as hell hope it isn't 8 years until Cochrane decides to record again and next time pick up the pace a little Tom.
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| Richie Kotzen Into The Black | Frontiers Records FRCD315 |
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Speaking of modern rock as I was in the Cosmo review, here is a guy that knows how to do it well. Better than just about anyone else in this scene and he does it with both passion and aggression, something not easily accomplished. And all the while Richie Kotzen keeps it melodic and accessible. Kotzen's style may not be for everyone, but to his fans I would think this album will rate as one of his best ever. Richie picks up where the Forty Deuce band album left off and adapts that albums style to his solo delivery. The album is summed up by the opening track You Can't Save Me - brooding, intense, lyrically biting and passionate beyond belief. Richie lightens the mood just slightly for the great rock track Misunderstood, featuring one of his best vocals to date. The Shadow is cool too, but for different reasons. More classic rock melodies over a bluesy, yet commercial base. Kotzen's love of blues shines through even further on the moody ballad Till You Put Me Down. Highlighting the excellent way this album has been sequenced, that moody theme continues through Sacred Ground, but this time in the form of an angst ridden rock anthem. Rounding out the album is the seemingly happy go lucky acoustic driven Livin' In Bliss and the blues rock My Angel. Into The Black sees Kotzen write, play and produce every note of the record. It is a personal statement and a challenging one at that. 10 songs, 7 or 8 different vibes, but one great performance.
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| Martin Briley It Comes In Waves | MTM Music 0681-177 |
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American based, but English born singer/songwriter Martin Briley isn't your average melodic rock artist. In fact, he isn't really a melodic rock artist at all. This is another curveball release from MTM that doesn't fit into the usual melodic rock mold. Briley's album is melodic, but in more of an acoustic driven folkish way. The album is very laid back there are maybe 4 uptempo tracks, with 3 of those rocking along at a nice pace and the remainder of the album residing in slow to mid-tempo acoustic pop territory. He has a strong singer/songwriter vibe going on, the kind that mixes the rather anti-AOR entities of Elvis Costello and unplugged era Eric Clapton with a sometimes more AOR friendly Westcoast bent. The album is a one man band affair, with Briley performing and programming all of the album's musical contents. The guy knows how to write great lyrics. This is a very personal and reflective record. Check out the tongue in cheek Church Of Disney and Me And My Invisible Friend. The very pop/rock It Comes In Waves, Church Of Disney, Fake Horizon and Invisible are the highlights of the record and offer AOR fans some sweet, lad back harmonies, but elsewhere such as I Don't Think She Misses Me At All, I find the album a little too soft, too slow and definitely too nice.
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| Paul Stanley Live To Win | Universal Music |
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It's taken nearly 20 years, but Paul Stanley has finally delivered his second solo album. Being familiar with the passion of some Kiss fans, I have no doubt there are some out there that have been looking forward to this release since the week after his debut was available. Built up over the last year or so as the Kiss album Kiss never made, or the greatest album of whatever year it would be released, Paul's new album finds itself desperately needing to live up to pre-release hype and expectation. I think Live To Win delivers to the believers, but will fall short for the uninitiated. It also wavers a little unevenly between styles, at times not sure which way to drift. There is a lot to like about this album and overall, it is a very respectable piece of work. That said, there are obvious areas where things could and probably should have been improved, and then there is that question over the updated sound/production. Paul has desperately tried to fuse the classic Kiss style with a full-on modern rock approach and on parts of this album it works, but who is he really trying to appeal to? Kiss fans will buy anything and outsiders or casual fans will just be listening for great melodic songs. I'm not sure anyone looking to buy this album would choose a modern rock direction over a more classic sound. And if Paul updated things to be more commercially appealing, then he is listening to the wrong people. Thankfully the album does feature some very good songs. Track By Track: Kicking off the album in fine style is the title track Live To Win. The down-tuning is obvious from the first riff and the modern approach might have been of concern for some if a chorus from heaven had not punctuated proceedings. You can't ask for a better or catchier rock n roll anthem than Live To Win, which blends modern production effects and guitar tones with Stanley's classic sense of knowing what makes a song great. Lift takes a darker turn and emphasizes the updated production values even further. The fact the song remains at mid-tempo and the chorus isn't as instant as the opener means that it could be a take it or leave it track for some. But it gets better with each listen and makes for a good partner for the opening track. When Wake Up Screaming kicks in, one could be forgiven for thinking that perhaps Stanley has abandoned the classic Kiss style entirely. Loops, heavy guitars and effects provide the foundation, with Stanley's very likable voice providing the melodies. I love the very melodic tone of the verse - raspy and stripped of layers - moving then into another great anthemic chorus. Everytime I See You Around is both the first ballad of the album and the first reference to the sound and style that made Stanley a household name. This is a classy and classic Kiss style ballad that should please all fans. Added string orchestration bolsters the sound and atmosphere. Bulletproof is the second almost-Kiss classic in a row. This track could have made an appearance on Revenge, Hot In The Shade or even Crazy Nights. It is classic commercial hard rock without the modern influences to scare off long time fans. All About You sees Paul Stanley tread a thin line between the modern rock influences of the opening tracks and the more classic sound of the last couple of songs. Either way, the song has a good uptempo beat and a big chorus. Not that I'm overly impressed with the chorus this to me is one of the more throw away tracks on the album. Second To None is anything but throw away. This is one of the best ballads of the year and is classic Stanley at his finest, emotional best. A soft verse gives way to a monster chorus with soaring vocals and more orchestration. Perfect! It's Not Me features more production samples and a half-way sound similar to All About You. Not a bad track and a good uptempo chorus, but another song that seems to go half way without fully committing. It could have been either heavier and even more updated, or more classic in style. Loving You Without You is the third ballad of the record and another example of what Paul Stanley does best deliver heartfelt songs with a positive message in a commercial melodic hard rock style that millions love. Where Angels Dare is another strong uptempo commercial rocker. The song builds early to a strong chorus and finishes the album in style.
But, viewing what is on offer I would have to say that I think most Stanley fans will be happy. A solid and enjoyable album that proves Stanley is the creative force behind Kiss. This is infinitely better than the Gene Simmons solo album, but could have been even better still.
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| The Andersson Mills Project Crank It Up | Z Records |
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I consider myself a fan of Tony Mills his endeavors with Shy have always been rated highly here and the new China Blue project he is singing with is off to a very promising start with one song on the new MelodicRock compilation. 2007 will also deliver a new Mills fronted TNT album, so that should be interesting. But this, I'm afraid to say, is just dire. I respect Tony a great deal and have always found him to be open to criticism and varying opinions. But this really is a horrid release but perhaps not for the most obvious reason. I'm an advocate for any artist to stretch their wings and experiment if they so wish and that is what Tony Mills does so here. Mills has previously dabbled with jazzy pop on his last solo album, but on this occasion, in cohorts with Swedish guitarist Linkan Andersson, the duo take a real left turn as far as what fans might usually expect. The Andersson Mills Project is primarily comprised of authentic American punk influenced by the genre's 70s roots and delivered here with a definite enthusiasm for the style. It is going to take quite a bit of work for melodic rock fans to get their ears around a CD dominated by punk rhythms and modern rock influences, but the albums main problem doesn't stem from there. The style issue still allows room for a few songs to stand out as quality pieces and there are some things here that Mills fans can enjoy. I have been dancing around the main issue of contention. Everything else aside, the biggest problem with this album is that it sounds like shit. The production is just abysmal and I can only surmise that it only has been released because Z Records are desperate for anything to add to their release schedule. The sound quality within this record varies greatly but rarely rises above demo standard, tainted at times by massive distortion and a tone that just hurts to listen to for any length of time. Take Skin And Blood for example. Yikes. The album takes a small turn towards a more familiar melodic path in the second half, passing through nu-breed in the middle. But will anyone get that far into the record? Nothing But Poison and Head On Collision give Mills fans some reward, but how many listeners or potential buyers will make it past track 3?
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| Kevin Lee Flip The Switch | Sigus Records 2006 |
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Kevin Lee's musical history goes as far back as the early 90s with his Lonesome City Kings release via MCA. Since then he hasn't let up and tours constantly and has released one other full length record and a 6 track EP. Lee is your classic American mid-west rocker. The Chicago native soaks up the musical influences of that city to produce an uptempo guitar driven record with pop/rock comparisons to Cheap Trick and Henry Lee Summer (without the twang). Simply put - old school harmony and melody with today's production delivery and modern rock energy. I think this is his best album to date and will appeal to both straight ahead melodic rock fans and those partial to modern melodic pop/rock. Highlights include the nu-breed rocker Built To Burn; the mellower and straight up Brett Walker-esque melodic rock of Save Me Tonight; the glorious pop All I Want is rocker with a great chorus hook; the glammy Hollywood Trash and Can't Believe You're Mine. The album is consistent throughout, but you can't beat the first 4 or 5 tracks for quality.
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| GPS Window To The Soul | Inside Out Music |
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It is really a shame how things worked out for the last concoction of Asia. The band really hit their straps with the Silent Nation release and anticipation was high for the follow-up, which was near complete before being scuttled by the re-union of original Asia members. Still, that gave vocalist John Payne and fellow current Asia cohorts Jay Schellen and Guthrie Govan the impetus to get creative on their own project. For all intents and purposes, GPS is a natural progression from the musical base established by Silent Nation. I have read opinions of this album favoring it over Silent Nation and others that still prefer the Asia record. I'm in that camp, but the difference is barely negotiable. Both are great records and GPS is going to bring a lot of joy to fans of that line-up. Ryo Okumoto (from Spock's Beard) steps in to replace Geoff Downes on keyboards and is the perfect man for the job. This is quite an epic album and one with considerable rewards for listeners willing to invest a little time in it. There isn't a track under the 5 minute mark and several around the 7 minute mark. It has a definite progressive and harder edge more so than the last Asia album, while at the same time carrying over the melodic sensibilities of that line-up, not to mention the killer rhythm section, thanks to Payne (bass) and Schellen (drums). Opening with the edgy 7 minute rocker Window To The Soul, the album turns left into Asia territory with the lush 8 minute AOR track New Jerusalem. It gets even more melodic and rather emotional on the classy 8 minute rock ballad Heaven Can Wait, which features some raspy, emotional vocals. Other album highlights include the Asia-esque Written On The Wind; the rich arrangement of I Believe In Yesterday; the commercial rocker All My Life, complete with 80s feel; and the closing hard rocker Taken Dreams.
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| Fatal Smile Neo Natural Freaks | GMR Music |
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Swedish rockers Fatal Smile may not be a household name, but they deliver the bang for the buck and definitely deserve higher accolades. Back with their second album, the guys have turned it up 2 or 3 notches to produce a hard hitting, powerhouse melodic metal album with elements of classic European hard rock and Metallica like metal grunt, all wrapped in a contemporary delivery. This is not for the faint hearted, but for those that dig European hard rock / melodic metal, you will do well to check these guys out. Neo Natural Freaks is 10 tracks and 42 minutes of power. From the opening riffs of the furious title track, to the aggressive Crash And Burn; to the thumping ear crunch of Learn Love Hate to the catchy punk riffing of Common People and the straight ahead hard rock of closing track 11th Hour this album all attitude, all rock n roll and fuelled by the dynamic performances of guitarist Y and vocalist HB Anderson (ex-Scudiero).
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| Ruffians Desert Of Tears | Metal Heaven 00027 |
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US metal merchants Ruffians return after splitting in 1989 to complete unfinished business. What they deliver in pretty standard melodic metal with a European influence in their sound. The record doesn't strike me as anything more than an average everyday release and it is made all the more average by a very ordinary singer who spends just a little too much time shouting. The band have obviously been raised on a diet of Iron Maiden, as the chug chug chugging of the guitar riffing is prime old-school Maiden. The acoustic It Ain't Over offers some respite from the riffing, but I wouldn't call it a ballad. I Believe and Day Of The Champion are probably the best picks, but the album does tend to plod along at the same pace throughout.
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| Billy Falcon Made Man | Indie |
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Singer/Songwriter Billy Falcon returns for a new studio album that perhaps could be his best since the breakthrough Pretty Blue World release more than 15 years ago. Joining him is guitarist Bryan Hall, drummer Johnny Telucci and bassist Michael Spears (Blue Tears), who together make for a powerhouse bad even if it is executed in a stripped back and acoustic dominated form. Billy retains the usual southern country / mid-western pop base as his musical theme, but Made Man has feistier edge thanks to some more uptempo and electric based tracks not too mention a discernable energy flowing through the speakers. From the opening southern rock of the title track Made Man, the album sounds comfortable like the guys are on a mission, armed with the knowledge this album features a great set of songs. There's the laid back, but electric driven soul of Sugar; the Tom Petty influenced Happy Hour; the emotional honestly of The Only One That Doesn't Know, a track which runs right into the contrasting free flow rockabilly of Better Than A Girl; plus the sparse, almost entirely acoustic double of the album's last two tracks.
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| Big Cock Big Cock | Driver Wild Music BCCD01110-2 |
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World's worst band name, or good attention seeking tool? Your call, but either way, the name is pretty apt, as Big Cock sing classic 80s style hard rock songs, primarily involving the subject matter covered by their very name. If the band's name is too subtle, perhaps subtle song titles such as Fucked Up, Every Inch Of My Love, Booze & My Baby, Rock Hard, Let's Make Love or Ride On Me will convince you. Subject matter and lyrical content aside, Big Cock, featuring Lynch Mob's Robert Mason on vocals and King Kobra guitarist Dave Henzerling (a k a David Michael Phillips), deliver some great fun, take no prisoners old-school American hard rock. Big Cock rock like the 90s never existed. A simple guitar/bass/drum backing is accompanied by the sleaze friendly vocals of Mason. This is the band's second album and sees the guys repeating the formula of the debut. If you liked that then this is an easy sell. Highlights this time around include the attitude filled Real Man, the opening rocker Fucked Up; the sleazy Ride On Me; the piss-take cover of Paul Anka's She's A Lady; and the double time Guns N Roses styled rock n roll of So Easy Bein' Me. There's even a ballad this time around the warm and fuzzy Every Inch Of My Love.
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| Fraze Gang Fraze Gang | Indie FG-01 |
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Brighton Rock guitarist Greg Fraser returns to action with his new independently released outfit Fraze Gang. The guitarist turned singer puts in a good performance here, with a whole album of swirling riffs and solos and an old-school melodic hard rock feel to the music. And as it turns out, he is a pretty handy vocalist too. We are not talking smooth as silk here, but his tone and energy throughout the album is highly enjoyable and when he slows things down there is a definite warmth to his voice. In fact, Greg reminds me of a fellow Canadian guitarist turned occasional vocalist Loverboy's Paul Dean. But that's not all there must be an affliction between kindred spirits, as I also compare the sound of the album and Greg's voice to Journey guitarist Neal Schon's solo work especially where he sings on his classic Late Nite album. If it is not Schon's vocals I'm thinking of while listening to this album, then it is on some of the more straight ahead hard rocking moments of this album that I am reminded of Paul Dean's solo album from late 80s Hardcore especially the tone of Fraser's voice. So if you mix both those influences with the classic Brighton Rock sound not that of their Love Machine record you'll get some feel for how Fraze gang sounds. Blow Me Away is a fine old-school rocker with a bluesy swagger; Savior and Broken Hero pair up as a couple of very good more melodic tunes; Rainbow Eyes is a fine power ballad, although the production isn't as sharp as it could be; Paradise and High Life are both cool rockers that again bring Paul Dean comparisons; Stargazer is another very melodic track with a good hook and Roll With The Punches is another very strong mid-tempo rock ballad. There is another side of the album that comes to light on certain places. There is a slight bluesy influence over the whole album, but that pushes through on three tracks - Sugar Daddy, You Had It All and Hot Rod. These unfortunately don't quite work for me.
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| Zeno Runway To The Gods | MTM Music 0681-176 |
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God, it's that bloke again! Vocalist Michael Bormann makes up for a quiet 12 months with his 3rd record in 2 months. And there is still Redrum to come early next year! In this case Bormann is the guest, providing the vocals for the songs written and played entirely by that talented German chap Zeno Roth. Zeno takes his time writing and recording new albums a lot of time, so it is no surprise to find that some 8 years have now passed since the last album Listen To The Light. A lot in the world has changed in that time all expect for Zeno's style. He picks up exactly where he left off in 1998 Runway To The Gods is a natural successor to Listen To The Light. As expected from fans of Zeno, this is a record dominated by intricate guitar play. Solos, riffing, overdubs and even more soloing and following that comes the swirling keyboards. Bormann simply steers the songs where they are supposed to go and gives them the added personality required. The album opens in typically bombastic style with Fanfares Of Love, a song that begins with a flurry of guitars and simply gets more complex and over the top as it goes. The concluding minute and a half of this rocker is simply ridiculous! (I mean that in a good way!) Climb The Sky pulls things back a little and Land Of Illusion gets a little more melodic again. One thing is for sure the 80s influence and the sound of previous Zeno records lives loud and strong in this new record. Highlights from elsewhere within the record include the big 6 minute plus rock ballad Runway To The Gods; the uptempo and pomp friendly Refugees (Longing For Paradise); the frantic and hard rocking I Feel I Live and Purify, which features a killer vocal. The album also features to instrumental tracks - Sunset Birds Flying Home (Celestial Touchdown) and Sogno Di Angelo. Both are ok, but being a vocal fan, I find myself skipping these.
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| Wetton/Downes Icon II - Rubicon | Frontiers Records FRCD309 |
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Two dodgy live albums had left me a little blasι about the Asia duo's new studio album. Mr Wetton & Mr Downes produced a rich, lush and very fine example of up to date AOR with their debut. Maybe it was a little slow, but it was quality. Then those two live albums really killed my enthusiasm for the guys. But the opening strains of this album renewed by enthusiasm in a heartbeat as this is what they do best and should stick to. The Die Is Cast and Finger On The Trigger finally see the guys get out of first gear and into a more uptempo realm. These are two seriously good songs. Both tracks make a great start to the album and for are 2 of the best tracks from the pair in many years. And for whatever reason, they both have an unmistakably 80s feel to them, something that it thought the debut didn't make obvious. Following on from those tracks, Reflections is another musically rich track and a very smooth ballad. I'm not sure what to make of the double-header that follows though. Two songs in a row feature John Wetton duetting with a Anneke van Giersbergen of The Gathering. To Catch A Theif and Tears Of Joy are both very slow and while both a quality pieces, they sound more like excerpts from a Wetton solo project. Shannon sees the album get back on track, with the sound returning to the more expected. The soft, but layered harmonies and detailed orchestration of The Hanging Tree and The Glory Of Winning are (as the song suggests) both winners for Wetton/Downes. The album drops the tempo through the mid-section and only picks it up to the point of where the debut sat for the remainder of the record. I would have liked to have heard a couple more faster moving tracks like the opening pair. That said, the closer Rubicon may be stuck in that same mid-tempo sphere that the guys find comfortable, but it is a fine track to close the album.
Add in those two killer opening tracks and a more pronounced 80s influence through the record and you get an album that comes closer to the original Asia sound than any album since that band's early days.
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| Thunder Robert Johnson's Tombstone | Frontiers Records FRCD308 |
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Being free-agents has allowed British rock greats Thunder the freedom to do as they please. That has seen them fall into a very productive period which has seen three albums released in relatively quick succession since the band first stormed back with Shooting At The Sun. Thunder know what formula works for them and over the last couple of albums have concentrated on delivering songs in their traditional guitar driven style, with that unmistakable hard edge and a bluesy swagger. Robert Johnson's Tombstone continues that Thunder formula, so instantly you know who it is from the opening 30 seconds of the album and also that it will be a winner with fans. The very nature of the style and sound of this album hits the spot with this long time Thunder fan, and the sound quality (thanks to the well trained ears of Luke Morley) is equal to the best albums the guys have recorded. The only thing left to dissect is the quality of the songs. And the band don't disappoint there either, although I wouldn't rate this album quite as highly as the last two. Once again Thunder knows what works, so fans get the usual blend of high energy rockers with punchy guitar riffs (Dirty Dream, The Devil Made Me Do It, Andy Warhol Said, Stubborn Kinda Love) and the odd blusier number (What A Beautiful Day, Last Man Standing and the title track Robert Johnson's Tombstone). And no one should forget to mention the soft acoustic driven ballads which start slow and end with a bang (A Million Miles, It's All About You) and the very tender and reflective ballad My Darkest Hour, which shows an emotional maturity in the vocals of frontman Danny Bowles.
I might add for whatever reason I feel necessary, that the album title is not the best the band has come up with and the cover art is just plain silly. There I've said it now!
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| Pretty Maids Wake Up To The Real World | Frontiers Records FRCD307 |
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Great record this one but I had to re-check what I was listening to a couple of times. Danish rockers Pretty Maids have re-grouped after a 4 year break and returned with a fresh, updated sound that could see them pick up some new fans. The band's sound has been updated a little and the album swaps back and forth between the expected European melodic hard rock and some modern rock influences. The changes within this album work well for the guys and I don't think they are at risk of losing any old fans, as at the heart of the record is some good old-fashioned, likable songs. The band sticks to their tried and true sound on the opening rocker Wake Up To The Real World and the double time rocker Why Die For A Lie and the in-your-face Terminal Violence, not to mention the slow and moody Perfect Strangers. I Am The End is a mixture of modern rock and melodic metal which works quite well for the guys. It has an aggressive yet melodic feel and the vocals of Ronnie Atkins are perfect for the style. The mid-tempo modern rocker As Guilty As You sees the sound modernized even further while at the same time, the melodic hooks are turned up again. Such A Rush is classic European melodic rock while Where Beauty Lies is a passionate and heartfelt rock ballad. And the closing number Another Shot Of Your Love is a great melodic rock ballad, with a thoroughly commercial hook.
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| Michael Bormann Conspiracy | Indie / NL Distribution |
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One of the melodic rock scene's favourite vocalists is former Jaded Heart frontman Michael Bormann. He's had some time away, but now returns with not one, but four new projects, the first of which is his brand new solo album Conspiracy. Not surprisingly the album's lyrical content is dominated by the singer's frustration in being ousted from the band he fronted for many years. But thankfully for Jaded Heart fans, Michael continues on as a solo artist in much the same musical vein as the last few Jaded Heart records. The songs featured here really are very good. Some quality melodic hard rock and some fine ballads. The only problem for me is that at times the guitar sound sounds a little thin in places, especially on the heavier tracks where more bottom end is needed. This reflects on the overall production quality. I think there is some great guitar moments on here though plenty of solos and some great standout riffs. Highlights from the alum include the opening title track Conspiracy, a lyrically biting affair with a hard hitting chorus; Stand Up, which has a great Jaded Heart style chorus and some fine lead vocals; Two Of A Kind is a good ballad in duet with (I believe) Anette Blyckert from Alyson Avenue; Living Just A Lie is one of Michael's best rocking anthem's in a long while great stuff indeed. The album mellows at this point for a few good more laid back rock tracks. Reaching Out is another high quality track, this time a more reflective rock ballad and On Man One Soul is a perfect moody, venom-laced rock track. So This Could Be You continues that moody dark vibe and Amazing is a bluesy power ballad of sorts. The closing number Samirangel is a haunting acoustic piece which closes the album in melancholy style.
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| Love Child Soul Collector | Escape Music ESM139 |
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Love Child is without any doubt the first rock band I have reviewed that herald from the land of Liechtenstein. This European melodic hard rock outfit have pretty much got things right as far as getting their music across in the best possible fashion, with decent production quality and an even mix. The band's guitarist knows his way around his instrument and the band's general rocking approach can be appreciated. Two things need work though. The band just need that little something extra to draw the listener back in for more after some impressive riffs and a decent sound. More consistency in the choruses is what I speak of. The other thing is that the singer, for me, isn't someone I would spend a lot of my time listening to. The accent on his vocal isn't my thing and I generally just don't like the rough and gruff approach. The singer is ok, but you must be tuned in to his style and method of delivery to apreciate. After rocking out for the opening 4 tracks (in pretty good style) the band get a little more melodic on Sunset Rider. It suits them. This continues through No Return and Battlefield, making the mid-section of this release the highlight for me. Promised Land is one of the better rockers, played out in fine traditional European hard rock style and Midnight Train features some good melodic guitar work.
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| Styx & The CYO One With Everything | Frontiers Records / Universal FRCD311 |
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I didn't have any real expectations for this live record yet another diversion from the band releasing new studio product (5 live albums and a couple of compilations in between a mere 2 studio albums) and it is sadly only a portion of the whole live event. You'll hear and (obviously) see more on the DVD release. I imagine most Styx die-hards will be happy, as it certainly is a quality release. Just a couple of issues however First problem is the repetition of the same old songs again. The Styx catalogue is so vast and yes, there is only 75 minutes available for a single disk release, and yes, you can hardly leave some of these tracks off but overall I found the track list to be less than inspiring. Secondly, while I was one of the few that found the band's last record the covers release to be enjoyable, I'm wasn't a fan of the 3 individual tracks chosen to represent that album here. Those points made, the album is still enjoyable for what it is and Styx are a lean mean touring machine and as always are tight as hell on stage even with the addition of a whole orchestra of extra members. That orchestra is the very reason for this release. This live performance comes from a pairing of the band with the Children's Youth Orchestra, who add that symphonic touch to the band's music which let's face it is a very natural fit. At times these extremely talented kids are the driving force behind the songs, but at other times they are being drowned out a little. Highlights include what they do with Blue Collar Man fabulous; as is the extended Fooling Yourself and newer track One With Everything itself a great little melodic anthem with a technical hook. The extended instrumental break with the orchestra here is musical class. The two news songs are Everything All The Time, which has a lot of energy and a decent hook. The studio cut ballad Just Be doesn't do anything for me though. Tommy's voice sounds as strong as ever, but the song doesn't have that 'play me again' hook to draw you in. The closing 4 tracks Crystal Ball, Too Much Time, Miss America and Renegade are a sure fire way to end with a bang, 4 classics back to back with the orchestral twist adding some freshness.
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| Iron Maiden A Matter Of Life And Death | EMI |
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Good album - much better effort than the last one and an improvement in sonic quality also. In this case I have handed over the review to Mick Ward, whose metal reviews are occasionally featured here. He is a massive Maiden, fan, so who better to analyze this release. Over to Mick: Review By Mick Ward. 'For the passion, for the glory, For the memories, for the money, You're a soldier, for your country, What's the difference, all the same These colours don't run, from cold bloody war.' Indeed! Once typical barnstorming opener Different Worlds makes way for These Colours Don't Run it becomes quite clear that Maiden are out for blood. These veterans haven't sounded so bold, angry and dark, nor as energetic since in their 80's heyday. A Matter of Life and Death is a chaotic album of exceptional proportions, epic ambitious and brimming with certainty. It muscles its way in with such controlled aggression even repeated listens don't ease the burden of selecting the better tracks. A Matter of Life and Death is certainly the most consistent and convincing Maiden has sounded for a very, very long time! The album mostly focuses on the chaos of war, but I can't remember when Iron Maiden has sounded so lyrically compelling. Not afraid to wear their hearts on their sleeves, the band has delivered a stirring, thought-provoking album, one that never sounds forced. If the lyrics above for These Colours Don't Run didn't convince you, for credentials look no further than Steve Harris' For the Greater Good of God. 'Are you man of peace or man of holy war, Too many sides to you, Don't know which anymore'. Or its closing lyrics 'He gave his life for us he fell upon the cross, To die for all of those who never mourn his loss, It wasn't meant for us to feel the pain again, Tell me why ' The progressive leanings on A Matter of Life and Death are out front and almost every song contorts and ascends into something that, while typical of Maiden, also manages to remain stimulating and unique. Some may be disheartened by the longer than lengthy songs on offer here, but when considering the depth of each of these tunes, it can be appreciated why this is. Whilst The Pilgrim is a storming number reminiscent of the Powerlsave era that clocks in just over five minutes, at the other end of the scale The Legacy for example cracks the nine minute mark. Yet The Legacy is crammed with such impressive progression and brilliance it is worth its every second. Song-wise the only possible glitch is the inclusion of the Dickinson solo sounding track Out of the Shadows. With its sly wink back to his very own Tears of a Dragon amongst others, the tune is slightly alienated from the rest of the album due to nothing more than sounding like you've heard it before. Other than that, it's a fine song. To put it simply each song on A Matter of Life and Death is worthy of mention and dissection but I don't have anywhere near the space here to do the songs the justice they truly deserve. Take it as a given that each and every composition is magnificent and shows Maiden are finally moving forward while at the same time ensuring to respect their history. The idea not to mix the album was wise. In doing so the album doesn't come across as over produced and remains raw and live, helping the band to sound tight and like a unit. And if on occasion Dickinson sounds like he is straining then that's good because he sounds real and better for it! He hasn't sounded this good, so cutting, so insane and brilliant in years. The packaging is top notch (make sure to grab your limited edition with DVD bonus!) and it is quite fitting that while the album boasts some fantastic artwork typical of an Iron Maiden album cover, the band are photographed in normal attire in an everyday setting, no window dressing, just letting the music speak for itself.
Oh, and on that subject matter of war Here then stand the victors!
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| Talisman 7 | Frontiers Records FRCD304 |
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Someone once wrote to me and said I had a bias towards Jeff Scott Soto and Harem Scarem. Sure, but I prefer to think of it as a bias towards great music and as far as I am concerned these two artists rarely put a foot wrong. So read whatever bias into this you may, but I don't think for one second that any long time Talisman fan is going to disagree. Sure, not all may agree with my assessment that this is Talisman's best record ever, but I am supremely confident that it will at least rank as one of the band's very best for all fans. And with vocalist Jeff Scott Soto's foray into Journey, there is for the first time in a long time, a whole stack of new fans about to discover this side of his musical personality. These folk could not have picked a better album to come on board to, as Talisman 7 delivers 11 classic melodic hard rock tracks that collectively add up to a truly wild ride through the many facets of Jeff and Talisman's history. The best thing about 7 is the fact the band sound as fresh as if this was there debut album, yet it draws on the experience gathered over 6 previous studio albums and some 15+ years together. Musically speaking the album touches on all the band's recognized trademarks and a few of Jeff's own, while trying a couple of new things which I think will really impress listeners. The guys took their time writing this record and it shows. I think it is the most consistent album from the band as each of the 11 tracks delivers something different and no sooner do you get to the end of the record, you want to play it again from the start. Marcel Jacob is a revelation on this record, providing most of the guitar parts as well as his usual impressive bass work. Track By Track: The modern almost punky feel to the opening of the album with Falling initially caught me off guard, but feels natural once you get to know the album. JSS' powerhouse vocals drive the song through its thrashy beat into a chorus that also gets better each spin and features a nice punchy rhythm section. Nowhere Fast kicks off with one of the more thumping bass lines in recent memory and slips into a classic Talisman groove, accompanied by a quirky guitar riff that sets up the song melody. The chorus is more instant and one I love hearing. Jeff's vocals are his typical style - attitude laced with soul and really are quite something. He sounds so at home and so comfortable with this material. Rhyme or Reason has the same production vibe and style, not to mention the same moody groove as the band's previous cover of Seal's Crazy. The sultry vocals and the intensity of the bass and guitar interplay are not the most commercial of combinations, but anyone that knows Talisman knows this groove and the song is a real grower. End Of The Line features another killer bass riff which opens up into a flurry of drums before a truly funky rhythm and lead vocal takes over the song. The chorus is pure JSS gold layered vocals, great lift in tempo and vocal range, all the while rolling along with a classic groove. The 1 I'm Living 4 is one of the places within the album were the band try something new. And boy, does this track work. This is a new Talisman classic and for those Journey fans coming on board, this is where that band could take some lead from. The song is a mid-tempo melodic rocker, featuring a wonderfully soulful lead vocal that starts low and builds throughout the song. There is an underlying soft and sultry vibe and that unmistakable Marcel Jacob groove, but it is all wrapped up in a feel good melody that is impossible not to love first listen. On My Way is more or less classic JSS. A perfect answer to the last couple of moody tracks, this uptempo pop rocker is a feel good anthem with a perfect commercial pop chorus. Given the intensity of the album as a whole, this is a great mid-album circuit breaker. Forevermore is one of two big ballads on the album. Talisman generally aren't known for their sentimental ballads, but here they deliver two cracking examples. This is a brilliant ballad with a big harmony filled chorus and some nice piano parts. Definitely more comparable with JSS solo material, the band makes it their own with that classic groove. Succumb 2 My Desire is perhaps the funkiest Talisman track ever. And that's saying something. This has such an infectious groove, it is simply impossible not to dig it. There are a few different parts to the song the soulful funk rock of the verse, the uptempo groove of the bridge and then the even faster chorus. Then there is the brilliant James Brown funk of the latter part of the song which I can't get enough of. Shed A Tear Goodbye is another track which I think is something as little different for the band which let's face it has never been afraid to try something different. A soulful intro bursts to life into another uptempo, very commercial rock track with a great verse-bridge-chorus set up. The songs has a definite feel good vibe to it and the chorus is one of the more instant featured on the album. Troubled Water is a mix of classic Talisman groove, with a more modern musical base and production style. A more straight ahead rock verse gives way to a funky chorus, which then morphs back into the next verse. It is an interesting song that keeps the listeners attention. The band closes the album with the second big ballad. Back 2 The Feeling is a soulful and passionate rock ballad with a killer vocal and some fine guitar work.
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| Winger IV | Frontiers Records FRCD305 |
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This is an interesting one. Not too many expected to even hear a new Winger album in 2006, so the fact I'm sitting here reviewing this is a feat in itself. Winger left the scene on the back of a killer album Pull. It is an album that has become a cult classic I think a majority of the band's fans claim the album to be their best ever which I for one agree. Sadly though, grunge had already hit and the band's new found intensity and maturity on that record was only heard by a fraction of what the potential audience should and could have been. So with unfinished business at hand, the band has reformed the Pull line-up, with the edition of an extra musician in Cenk Eroglu who contributes keyboard, guitar and FX parts to the new album. The new album is something a little different again. The downside of Internet leaks means that many have already heard this album and just as many have already posted their opinions of it. And those opinions sure are varied. It seems there are some fans that are struggling with this CD and I do understand those comments, but I have a few of my own. IV picks up more or less where Pull left off adopting the same intensity and moody mature delivery style, but also ventures into some new territory that may give some fans pause before accepting. This is far from an instant album and even once you get to know it inside and out, it remains a mood album. It is not something I am going to or can play at any given time, but rather when the mood fits. Pull was a little like this too, but perhaps more mysterious. IV is both modern contemporary and classic rock there are songs that touch on both elements and at times it does so during the same song. There are some openly commercial moments and some truly dark and contemporary passages which will require some listening to. At first listen to the record I thought it was super intense and in some parts it is, but with time it sows some quite mellow and commercial moments. I find that the album doesn't feature as many individual highlights as Pull did and is not quite as ground breaking with the songwriting. I also find that this album makes for a better listen when played start to finish without interruption. Track By Track: The opening track Right Up Ahead is a prime example of the band at its most intense, complete with Pull style acoustic intro, soon engulfed by a heavy guitar riff. The song takes a few listens to get into with the chorus making itself better known with each listen. Blue Suede Shoes is an interesting choice to follow the heavy opening track. While equally intense and moody, strip this track and you more or less get a rock ballad with modern teeth. The added vocals and musical effects simply add to the mystique of the track. Four Leaf Clover is one of my favourite tracks. A simple guitar riff and a flowing melody and catchy chorus make for a very accessible and commercial rock track. M16 reverts back to the heavy intensity of the opening track. I like the heaviness, but can't say the chorus does a lot for me. Your Great Escape is an uptempo rocker with a less intense feel and even a breezy feel to it. It is the most commercial rocker on the album and sounds somewhat like a throw back to the band's early years. Disappear is another super intense moody rocker, with a modern vibe and a chorus that doesn't penetrate as well as some others. On A Day Like Today is another of the extremely commercial tracks on the album. This is a breezy acoustic driven pop ballad with the intensity of Kip Winger's solo records and the commercial likeability of Winger's early work. Livin' Just To Die has modern elements, but the heart of this song is a straight forward rocker with a twist. Short Flight To Mexico has a heavy down-tuned guitar riff driving it, but the chorus is far more upbeat and commercial hook. Generica is a track I can see some fans disliking, but I like its programmed robotic feel. It interests me and keeps my attention in a hypnotic kind of way. Can't Take It Back closes the album in typically dramatic and moody fashion. This mid-tempo rock track sums up Winger 2006 a song that needs time to grow on you and isn't openly catchy, but provides enough to draw the listener back in for more.
Perhaps a couple of extra tracks in the vein of Who's The One or Blind Revolution Mad might have given it a more instant attractiveness. I like this record and know others will also, but I also expect the very nature of the album and its style to bring extensive debate among fans.
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| Meatloaf Bat Out Of Hell 3 | Universal Records |
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Ah
yes indeed. I haven't heard anything quite like this since
well, since Bat Out Of Hell 2. Nobody does it like Meatloaf. No one throws themselves (literally) into each song with as much passion, heart and power as the big man himself. For whatever reason, the records recorded in-between the Bat records don't come close to these three records. When the Bat Out Of Hell moniker is used, Meatloaf applies himself to the concept with a passion that is missing from his other records. In the end I think it all comes down to the songs and the fact Meatloaf believes in the songs used on each occasion. And of course we have the masterful Jim Steinman to thank for that. Each of the 3 Bat records has been a little different and Bat 3 is no different. Bat 1 was produced by Todd Rundgren and featured the songs of Jim Steinman; Bat 2 was written and produced entirely by Steinman and Bat 3 is a mix of the previous 2 Jim Steinman was to produce but things got complicated and lawsuits ensued. The end result was that Meatloaf gets to use 7 Steinman songs with hitmaker Desmond Child stepping into the producers chair. Keeping the thread between albums going, Todd Rungren also contributed, credited here for "Vocal arrangements by Todd Rundgren." Bat 1 is legendary of course, but Bat 2 was an absolute masterpiece and my favourite of the three records. Jim Steinman gets the credit for that - his arrangements and attention to minute detail made that record an event. Jim's unique songs are what made Meatloaf great although it is Meatloaf's unequalled passion that brings these songs to life. Both artists achieve their best when they work together, so I was very skeptical about this release once I learnt that Steinman wouldn't be producing. Desmond Child is no slouch he is an accomplished producer and also knows how to get the best from the artists he works with. However, he doesn't have that same Steinman flare for the dramatic. But with Steinman's song contribution and Todd Rungren on board, the team assembled have managed to surpass my expectations and deliver a great album that is still worthy of the Bat Out Of Hell moniker. Yes, Bat Of Out Hell 3 is a clear winner for Meatloaf and while I still miss that extra flair and attention to detail that Steinman brings to the studio, this album works so well and Meat is in absolute cracking vocal form, and as per usual, throws everything into the delivery of these songs. I'll go through each track, but aside from the 7 Jim Steinman songs there are 7 others to comment on. Thankfully and wisely, the guys behind the album and in particular Desmond Child, have managed to come up with some killer songs that fit the Bat format and Meatloaf's larger than life vocal style and work will in conjunction with the Steinman originals. The production is huge absolutely over the top pomp rock glory with particular attention paid to the Steinman trademarks such as backing vocals, orchestration and instrumental passages. While these trademarks are present, at times you can tell that Steinman wasn't at work himself, but this I think is as good as it could possibly be without him involved in the studio. Track By Track: Naturally the album opens in typically dramatic style, but for the first time ever on a Bat Out Of Hell record, a non-Steinman song gets the nod. On a couple of occasions this album sees Meatloaf gets all modern on us and The Monster Is Loose is one of those occasions. The 7 minute hard rock epic was written by Motley Crue's Nikki Sixx with Desmond Child and John 5. It's quite the modern rock marvel, with super intense, super heavy down-tuned guitars and added production effects, but it really works in the scheme of this album and gets things off to a powerful start. There are parts within the song such as the mid-song bridge where things mellow out and take on a decisively Steinman-esque twist. Blind As A Bat is written by Child with James Michael and again features the hallmarks of a Steinman/Meatloaf classic. A dramatic vocal intro builds to a more pacey verse before an absolute gem of a chorus bursts through. I love this song and the passion in Meat's vocals are second to none. A perfect song for the album and proof that a great deal of thought has gone into getting the songs for this album just right. The first Steinman song of the album is the classic rock ballad It's All Coming Back to Me Now. Unfortunately sometimes referred to as a Celine Dion song (she did cover it with the help of Steinman), it is rather a song written for and featured on Steinman's all female star project Pandora's Box (Virgin Records, 1989). A couple of the songs from that album also appeared on Bat 2. This track is a duet in typical Meatloaf style this time with the up and coming rocker Marion Raven. She has a great voice and suits the song perfectly. Bad For Good reaches even further back into the Steinman archives this time being the title track from his only solo album in the early 80s. Queen guitarist Brian May guests here his contribution obvious the intro and outro guitar riffs plus a classy mid-track solo are worthwhile additions to the song. Meatloaf and producer Child stay true to the formula, style and personality of the original version of the song and I must say the updated version with Meatloaf's voice is killer. A great song that lives on again although I think Desomond Child underplays the important piano parts of the original. Cry Over Me is a Diane Warren song. Now Dianne is a wonderful songwriter, but she has a bad habit of getting far too syrupy at times. Meatloaf has used her before lastly on the Couldn't Have Said It Better album, but this song is a Meatloaf classic in waiting. A very powerful and emotion filled rock ballad, the songs is memorable from the outset. Bat 2 featured a couple of left turns and I'm pleased that Bat 3 is the same with both turns delivered at the hands of Steinman. In The Land Of The Pig, The Butcher Is King is a completely over the top aggressive modern rocker with that Steinman flair and some lead guitar parts from Steve Vai. No one but Meatloaf could pull this vocal off heavy, modern and out of character with the album it would seem, but it fits the flow of the album perfectly and adds to the whole theatrical experience a Bat album should be. The sort instrumental Monstro (written by Child/Holly Knight/Elena Casals) is an orchestral segway that brings the dramatics of the last track together with the high octane, melodic rock anthem that is Alive. I love this track. Perfect Steinman without even being written by him. Child/James Michael/Holly Knight and Andrea Remanda are responsible for this pure rock anthem with a huge chorus and some of that classic rocking piano that both previous Bat albums featured. Add in additional orchestration and a flying tempo and a classic is born. Following this over the top rocker is a hard task, but again, the perfect song has been chosen. If God Could Talk (Child/Marti Frederiksen) is a mid-tempo rock ballad with more dramatic flair and orchestration and fits the flow of the album perfectly. If It Ain't Broke, Break It is another of the album's left turns and again features a heavy, tuned down guitar sound. I didn't actually pick this for a Steinman song, but it is and something akin to his Pandora's Box release where a couple of songs go heavy/high-tech. I have never heard brass mixed with modern rock, but here you have it. Completely over the top, but for some reason it works. What About Love? Is another gem of a song from outside the Steinman circle. The Child/Frederiksen/Russ Irwin/John Gregory song is classic Meatloaf changing tempo and featuring a female lead in places (courtesy of Patti Russo). Generally uptempo and featuring more classic Bat piano work, the song reminds me of Bat 1 in places. A strong chorus and those ever changing tempos make the song especially when it gets even faster! The dramatic and orchestral Seize The Night is another Steinman classic. Nearly 10 minutes in length, the song mixes Objects In the Rear View Mirror with Life Is A Lemon and even some Everything Louder in other words, classic Steinman. The song has several different parts and passages, but you know the drill. The Future Ain't What It Used To Be is another old Steinman solo album remake and again is kept very faithful in this version. Brilliant song made even better with the power and energy of Meatloaf. Cry To Heaven is a short vocal only track written again by Steinman. I'd swap this with The Future to close the album, as after all the over the top moments, this seems just a little simple to close the album with. Pretty song, but perhaps the only disappointment for me on the whole record.
The team assembled has done the right thing by Meatloaf and the good name of Bat Out Of Hell, and I think the majority will be impressed by this record. I'd still love to hear more brand new Steinman songs though and perhaps one more outing with the big man
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| Europe Secret Society | Sanctuary Records |
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Europe reformed in 2003 and released their comeback album Start From The Dark in 2004. Their chosen musical direction created the usual debate among fans and left some out in the cold. I actually thought they updated their sound quite well. The mix of modern influences and a darker sound mixed with some of the band's commercial appeal generally worked for them. But I thought their main downfall was a lack of killer songs. Half the song was extraordinary, the other half rather ordinary. Secret Society is another interesting album that in many ways mirrors its predecessor. Again the band continues with the same style and direction pushing it a little further still and again the album will cause great consternation among fans. My take is that those that loved Start From The Dark will probably rate this one even higher and those that didn't warm to the last album will continue to be left cold. And just like Start From The Dark, the new album still suffers a little from lack of killer songs. Overall Secret Society is a much stronger and generally more consistent record, but where it adds more depth, it actually lacks one or two tracks that really blow your mind, like the opening few tracks of Start From The Dark did. Where there could be improvements - I would certainly drop the vocal effects from Joey Tempest's lead vocals. He is an amazing singer and I have no idea why there are so many on this record. Plus the boasting of more keyboards on this record doesn't sound like it came to fruition. And again, just like the last album, this record features a stronger first half and a slightly less dominating second half. I'm pretty much sold on the album's first 5 or 6 tracks. The opening rocker Secret Society has a modern feel and some interesting musical twist, but is largely a straight ahead guitar fueled rocker. Always The Pretenders is precisely what I'm looking for as far as this band is concerned and is hard rock gold in my book. More tracks with this intensity and memorable hooks is what the album needed to make classic status. The Getaway Plan is harder and more contemporary, but still features a cool chorus and strong guitar riff. Wish I Could Believe is a strong modern rock ballad with another good chorus and well placed orchestral parts. The mid-tempo modern rocker Let The Children Play mixes in some retro classic rock and takes some time to get to know, but again, delivers with a decent hook. Human After All is another good song, but a bigger, stronger chorus such as Wake Up Call could have lifted it further. From here the next few songs all are worthy of inclusion and are part of what makes this album so consistent throughout. But they aren't in the same league as Start From The Dark, Always The Pretenders and Got To Have Faith for example. Highlight of the latter part of the album for me is probably the very melodic and commercial Forever Traveling and Devil Sings The Blues features some stellar guitar work.
If I could pick 5 songs from Start From The Dark and 5 or 6 songs from Secret Society, then I think you would get your perfect 100. Overall, a solid and very enjoyable record from a band that is proving to be a force some 20 years after forming. That's a rare feat.
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| Skid Row Revolutions Per Minute | SPV |
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Skid Row have an identity crisis. Their first album without venerable frontman Sebastian Bach was a bit hit and miss. The quality of the songs was there, but the direction was not. Part old school, part modern rock, it made the band appear indecisive as to what they should be doing. The guys are now back with album number two featuring frontman Johnny Solinger. It seems they have the same problem with indecisiveness, but this time they also lack the quality of songs, making this album rather a mess. Making the situation even worse for long time fans is the fact that the band barely acknowledge their traditional sound, this time flip-flopping between modern hard rock and nu-breed inspired 3-chord punk. Throw in a couple of hillbilly rockers and the Skid Row as we once knew it is perhaps lost forever. I'm not saying every track on this album is bad there are a few moments where the song demands attention and the guys certainly rock with passion and attitude. The opening track Disease is little more than noise to me and the punk fuelled Another Dick In The System doesn't do much more, although the angst levels within the song are intense. Then there is the frantic hillbilly rock of When God Can't Wait, which is more Green Day goes country than anything I would expect on a Skid Row record. In fact, it isn't until the grinding hard rock of Shut Up Baby I Love You and the rocked-up cover of The Alarm's Strength that this album really gets my attention. The punk metal of White Trash has a good groove and a frantic rhythm and then there's You Lie. This is the dorkiest, hokiest "metal" track I have heard since Leppard's classic Stumpus Maximus cover of Please Release Me. Except this is an all-original number. This is the ultimate hate song wrapped up in an uptempo, feel-good country jamboree. You have to love the sentiment of the song and I love where the band takes it, but how can anyone take it seriously? But what's worse, there is two versions of the track on the album. The album closes with the same song some 3 seconds shorter and with no discernable difference between the two. Some bonus track! Pick of the whole album for me follows hillbilly hour. Nothing is a track that gets closer to the heart of what this band is capable of and is an example of where the whole album should have been going.
Out of the 5 Skid Row studio albums available, if you had to pick only one to listen to, would it ever be anything other than the debut or the essential Slave To The Grind? All in all I gave Thick Skin a solid workout but now the review for this album is done, RPM just got shelved for good. And that's disappoints me greatly.
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| Nexx Another Dawn | Angel Milk Records AMUK001 |
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There aren't too many Spanish AOR groups floating around and just as few viable AOR acts that feature a female lead vocalist. Nexx, of course, are both of the above and further to that, one of the very finest pure AOR acts around today. The band's debut was a tribute to super songwriting and great performances, all wrapped into a great package. The album was critically acclaimed and the band's accompanying live performances were raved about. So the guys had a lot to live up to with their all important second album. Another Dawn sees the band on a new label and with a slightly adjusted line up. Adjustments aside, the guys pick up where they left off with Colours and deliver another mega-smooth, perfectly executed, slice of mature adult contemporary AOR. Another Dawn is once of the best examples of female fronted AOR I have heard in years (or at least since their debut!) and certainly the smoothest. The band have kept upon the same path set they set out on with their debut, but maybe with an even more refined sound than before. The guys have obviously matured together and while I paint this album as a very smooth slice of AOR, it is not without some energy and some fine guitar work. The album kicks off with the most uptempo and obvious rocker of the album. Critical is classic European AOR with a fine vocal from Patricia and a hook big enough to hang your hat on. The angst filled Hey Father features a more subtle guitar riff and some superb harmonies throughout. The chorus is as strong as anything the band has delivered to date. Like The Poet is an interesting track. The hook is far from immediate, but rather embedded within the song and more obvious with repeat listens. The song features a nice mix of keyboards and guitar and a very strong and clear lead vocal. Control In My Life is nothing short of a beautiful female fronted AOR ballad. Soft and sultry and better and better each listen. The vocal hook is instant and the addition of strings and prominent piano parts makes for AOR brilliance. Far Away is a nice straight ahead guitar driven pop rocker that lifts the tempo of the album a little approaching the halfway point. A more urgent chorus helps the song stand out. Praying For A Life continues a mid-album rock phase, with some more fine guitar driven AOR. The title track Another Dawn is a more subtle pop flavored track that features more string arrangements and a detailed sonic landscape. Not an immediate track, but one that certainly has a lot to offer thanks to its various layers. Again is reminiscent of the debut a simple uptempo pop rocker with a strong guitar riff and a great feel good chorus. Caught In A Trap is a little darker and moodier and features a tasty little chorus hook that shows off Patricia's accent probably more than any other track, but it works for me. Guiding Star is purely and simply a straight ahead uptempo AOR rocker. Shine is an acoustic ballad that closes the album on a soft note. Not bad, but not a personal favourite despite the raw emotion of the song. Control In My Life (Reprise) is another does of that magic ballad, this time with the instrumentation removed and more orchestration and strings added. Wonderful! Second time around the song still remains a highlight and should be on radio if there were any justice in the world.
AOR may be a dirty word to some, but when it is as good as this, it is hard to reason why it isn't selling far more units than it currently is.
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Beggar's Bride Boulevard Of Broken Hearts |
MTM Music 0681-171 |
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Here is another album from MTM Music that I just don't get. The album is the vision of Swiss producer, singer and songwriter Holggy Begg. Holggy was part of the team behind Oni Logan's recent solo album and this record carries the same earthy, acoustic vive of that record. The thing is - Holggy has a bloody awful voice. At times I am not sure if he is singing or trying not to throw up. It really is that bad. Thankfully he must be aware of this and only sings lead on three tracks. But he does pop up from time to time through the album. Singing the rest of the time is a range of special guests Marc Storage (Krokus), Gary Barden (everything), Michael Voss (everything else) plus Aino Laos to name a few. The album lacks direction. And it certainly lacks melodies. It isn't melodic rock, it isn't hard rock and it really isn't acoustic pop either. I guess it is a bit of everything, but then the music is so varied and the singers are alternating from track to track, one isn't left with much of a flow to grab onto. I think the only upside of this album is a few select tracks that you can play on their own, but as an album, I won't ever play this from start to finish again. I had a job to that enough times to do this review. Highlights are obviously the two Marc Storace tracks, although don't expect anything nearly as heavy or rocking as Krokus. Broken Hearts is an acoustic driven pop rock song with a good melody, and First Way Out a more hard hitting track, but isn't quite as memorable. The two Gary Barden tracks are also ok Dreams and The Open Sea are moody rock tracks, especially The Open Sea. As you see there are a few definite highlights with the 13 tracks featured, but some absolute dogs too and the rest of the album for me is largely forgettable.
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| Dacia + The WMD Dacia + The WMD | MTM / Psycho Active 0681-173 |
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MTM Music has reactivated their alternative rock sub-label Psycho Active in order to unleash a new wave of left of center rock artists on the world. The concept did not work at all originally, mainly due the fact that the type of record buying public that is reading about and looking for MTM releases are generally not the type that are going to be looking for anything remotely alternative. So the label has that challenge in front of them again to reach a new audience within their existing barriers. Good luck guys. I guess there is a chance of this happening and also a chance of converting some traditional melodic rock buyers with the right kind of album. Tourist is an example of getting it right. Dacia is an example of getting it wrong. The album may open with a fine modern rock anthem in Who's To Say, which is quite melodic all things considered. But merely 1 minute into the second track Rockabilly Bitch it all goes terribly wrong. Who in their right mind would chooses to listen to a song like this? A heavy groove, some rapping vocals and a lame attempt to sound like Pink meets Gwen Stefani goes metal. Not me Stop And Stare tries to undo the damage of that second track, but by now, how many potential buyers are left listening? This is quite a smooth modern rocker in fact, with a nice chorus melody. Perhaps there I a chance for this record still . But them the album falls back into a heavy aggressive rap-rock groove and I'm lost for good. There are a couple of other cool tracks the modern metal of Live To Tell has some value; My Reality has a decent hook; and the big metal ballad Losing You which features Motorhead's Lemmy is a decent track. The bonus video clip to the alternative metal of The Communist sure won't convince me otherwise either. The album is produced by Skunk Anansie's Ace, so that should give some indication to the musical direction, but I'll take that band above this any time.
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Wetton/Downes: Icon Never In A Million Years |
Frontiers Records FRCD306 |
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Vocalist John Wetton and keyboardist Geoff Downes are two icons of the melodic rock world. I guess the Icon moniker the guys chose came to them easily. They have earnt and deserve the utmost respect for having longevity in their careers that has led them on a path back to their current point working together after forming Asia together some 25 years ago. Their debut Icon album together was filled with some fine adult contemporary AOR. A little laid back, but still, highly polished and very smooth. I look forward to the guys' delivering their second studio album next month, but I have to admit complete disinterest in their output in-between records. hey really are milking this partnership, as since the debut the guys delivered an EP, a truly horrible acoustic CD and DVD and now an almost equally dull full live concert release. Of the 15 tracks featured here, only a handful get out of first gear and manage to find a pulse. I know that if you want to be rocked you should perhaps instead see Iron Maiden live, but there are so many slow tempo tracks in this set that I am not sure who would still be awake to hear the more rousing final numbers such as Let Me Go and Open Your Eyes. The Heat Goes On sounds great as does Only Time Will Tell and the classic Days Like These, but elsewhere it is all very laid back and very 'AOR-lite'.
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Kingdom Come Ain't Crying For The Moon |
Frontiers Records FRCD301 |
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Time already for another Kingdom Come album or at least another Lenny Wolf release. As is the case with the last few albums, this is more or less all Lenny's doing from the vocals to the majority of the instrumentation. Although Lenny boasted that this would be the heaviest KC album ever, there remains little difference from the past few records. Yes, it is heavier and more driven by a modern guitar sound, but the tempo is exactly the same as previous records as is the songwriting style. Of the last few albums I do find this to be the more enjoyable, but Lenny truly needs to get some other people on board. Some co-writers and a full band to back what is a great rock n roll voice. Until he does that, Kingdom Come records are going to be for established fans and nothing else. As far as some track highlights on this record Ain't Crying For The Moon is an interesting track it comes in two parts a heartfelt ballad portion before turning heavier, but all the while remaining dark and intense. This Is My Life finally lifts the tempo a little and features a nice little chorus melody. Bon Scott is an obvious tribute to AC/DC, both lyrically and musically. Removed The Sting is a nice heartfelt ballad too. A couple of things I could have lived without though - Look At You closes with a 20 second silence so to give a break before the two bonus tracks. Pointless. Hate silence on songs in this age of MP3. Across The Universe is a soft pop cover of the Beatles classic nothing special and the new 2006 version of Get It On merely updates the sound to fit this album modern rock with a slower tempo. One other small matter that isn't relevant to those buying the retail version of this once it is releases - this review copy came complete with skips, jumps and audio hiccups at the request of Mr. Wolf. Absolutely crazy decision almost as crazy as those promos with the voice over every minute to interrupt concentration. If you are going to offer promo copies to journalists to review you album, then give only to those you trust. This is not the way to fix internet leaks it only pisses off those you are trying to impress. Next record that skips and jumps all the way though won't get reviewed.
However, out of the last 2 or 4 records, I'll take this one above those because Lenny is a talented singer and this record is a passionate one.
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| Tourist The Relevance Of Motion | MTM Music |
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As stated previously, MTM Music has reactivated their alternative rock sub-label Psycho Active to give themselves the ability to release some records outside the melodic rock field.
Modern rockers Tourist released this album independently in 2005, so many will already know of it. But now with a full European deal through MTM, perhaps now more will be able to hear it.
Some 18 months since originally reviewing this album, I can't say I have gone back and played it once. But that is more an issue of the number of new albums I must always absorb before reviewing. Now giving this a listen I can instantly remember what I liked about it back then and can't say that I have wavered from my original views.
Over to what I posted originally -
But there is a number of strong releases in the modern rock genre deserving of some attention. Tourist is one such band. This US act has released their new album independently, sadly ensuring that they won't get the media coverage they deserve. Their brand of guitar driven modern rock is every bit as good as their counterparts such as Foo Fighters, Hoobastank, Shinedown, or even Anberlin. These guys are on the heavier side of things and the sonic bombardment from a duel guitar attack and an intense lead vocal is unrelenting. Jacob's Ladder, Stay and the very anthemic rocker Everytime We Touch all would sound at home on modern rock radio. LRT and New Radio slow it down a little, but keep the aggressive undertone of the album. Only the closing track It Just Doesn't Matter doesn't quite work the acoustic ballad seems a little out of place. Enhancing the quality of the songwriting is a monster production, all tied together by a super crisp mix from the great Mike Fraser.
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| Leverage Tides | Elements Music ELEMENTSCD064 |
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The rockers of Finland are really turning it on this year aren't they! The good word on Brother Firetribe is still spreading, and given the band are finally getting a full European release, those good vibes are only going to continue. Now there's Leverage set upon the world to kick our asses! Leverage is a heavier prospect than the more AOR friendly Brother Firetribe, but there is more than one similarity. This album is more in the league of Masterplan powerful yet very melodic hard rock/metal. The whole album oozes a powerful energy that few other albums emulate and the songs themselves are full of life and passion, not to mention good choruses, powerful guitar riffs and swirling keyboards. In Leverage, the keyboards play a support role rather than being the dominate force of the album such as on Brother Firetribe. On this album the guitars are more in your face and dominate the musical landscape. There is another aspect of this album which simply deifies all expectations of quality. The vocals of one Pekka Heino. Fresh from his outstanding performance as lead vocalist for Brother Firetribe, Pekka kicks it up another notch here delivering a powerhouse vocal with all the finesse and power of Jorn Lande, but with an even more melodic edge, which still reminds me of Cheap Trick's Robin Zander at his most powerful. The production is first rate, the mix is tight and intense and the whole aura of the album is one of the highest qualities, enhanced further by the kick-ass rhythm section. There are no fillers or weak moments on this CD, just 10 brilliant melodic metal tunes. But within those are still a few amazing highlights. The album opener Fifteen Years is an intense melodic metal anthem with a terrific chorus and a powerful lead vocal which just oozes passion and power. A ripping guitar solo and a thumping rhythm section make it a metal highlight for 2006. Superstition and Horizon follow, Horizon being a moody and super intense metal ballad with layers of music to get through. But it gets even better the one-two punch of Dreamworld and Follow Down That River ensure that this album is elevated from great to classic. These are two uptempo metal anthems that Masterplan would be proud to all their own. Truly two fantastic tracks with strong choruses and pounding intensity. Stranger sees the guys pull back the fierceness for a more reflective mid-tempo ballad, followed by a quite commercial straight ahead rocker in Sails. To pick out one last highlight, I'd have to jump to the closing track Gone. Once again it is super intense and wrapped in a supersonic musical blanket, the song smolders along with the glorious vocals of Heino delivering the songs melody.
One for those that love it heavy and love it melodic and where you have keyboards dominating Brother Firetribe, here the guitars are in control. A perfect set of inspired releases.
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| TNT Live In Madrid | MTM Music 0681-172 |
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DVD Review: Bonus Audio CD included in package. This to me is not a great live album. It is a great collection of TNT songs who could argue with any set list that contained brilliance such as 10,000 Lovers, She Needs Me and Intuition? But it is just not a true live recording and watching the performance up close only magnifies the effects used to create the TNT live sound. And beyond that, there is no way that the audio from this DVD hasn't been touched up big time in the studio. It is well known that TNT (and may others) use programmed backing vocals for their live concerts, giving them the ability to match the original versions of the band's harmony rich classics. I do respect the band's wishes to go that route in concert. TNT is certainly not alone in doing it. Fans demand perfection from their artists and some of these classic songs are simply impossible to replicate live as they were recorded. But I'm one that would rather that any artist go completely live and only reproduce on stage what is humanly possible giving the songs a true, raw, live, warts and all sound. That said the energy and first hand experience of a live concert can see these things overlooked and forgiven. It is a little different when sitting back in the comfort of one's own home, watching the concert on DVD. Those "enhancements" are only magnified and watching the guys fake their vocals puts me right off watching. The whole piped-in backing vocals thing just looks fake. That issue is made all the more obvious and off-putting by watching the guy's front up to their microphones pretending to sing, while the backing vocals are clearly from their original studio recordings. It takes away from the performance and just doesn't seem real. To be honest, I'm not even sure all of Tony's lead vocals are live from the night. Everything about this live performance is just a little too slick and a little too polished and personally speaking, I don't like it. To speak of the concert itself for a moment, what you get is a pretty slick performance on a relatively small stage at a club in Spain. The filming is crystal clear and the crowd is enthusiastic. The band runs though a true hits package that includes a few early classics (10,000 Lovers, As Far As The Eye Can See, Intuition, Downhill Racer, Seven Seas etc) and a few newer classics such as She Needs Me, My Religion, Black Butterfly and Invisible Noise. The 85 minute set is probably missing a few important songs, but this fact would not be so important if the band and Tony were still working together. Now they have split, it makes the need for a definitive live concert ever more essential.
I'll have to see what Mr. Harnell makes of my comments, but suffice to say, I doubt I'm going to be very popular with the now departed TNT frontman.
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| UFO The Monkey Puzzle | SPV 80001057 |
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UFO are back with their latest studio album, the second to feature guitarist Vinnie Moore, not to mention a well received live set. After finding their way a little on the last album You Are Here, the boys deliver a much stronger record in Monkey Puzzle. The album doesn't offer anything unexpected or out of character for the band, but it does deliver 11 strong blues tinged rockers that is more or less going to be everything UFO fans expect from the band. What makes this album better is the consistency in the quality of the songwriting and the tight sound the band has developed after a lengthy tour getting comfortable together again. It also signals the return of drummer Andy Parker, after stand-in Jason Bonham took up with Foreigner. The album didn't throw out any classics first spin, but on repeated listens I found each song to be more engaging and as a body of work, the album flows effortlessly from start to finish. The overall feel of the album is fairly laid back, but the band is clearly at ease with themselves and I'm finding more guitar riffs and melodies in this album than I have heard in quite some time. The production is perfect for what the band needs solid sound, evenly mixed, but without the life being squeezed out of the performance. This still sounds like it could have been played live in the studio. Highlights of the album include the classic UFO bar room rocker Hard Being Me, which opens the album; the moody organ drenched Who's Fooling Who; the hard edge rocker Black And Blue; the very melodic and relaxed Drink Too Much plus one of my new favourite UFO tracks - Good Bye You - a song that is a little more laid back and features a memorable chorus and great overall vibe.
Nothing unusual or original here, just quality songwriting and an engaging set of performances. Something about this album just works for me.
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| Alibi Misdemeanours | Escape Music ESM136 |
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Alibi is another new British melodic rock outfit, again fronted by popular guitarist Vince O'Regan. This is more Vince's baby, whereas Eden is more Nick Workman's. It more ways than one, Alibi is the sequel to the two Pulse records and sees that band's sound used as the foundation for Alibi's debut. This picks up more or less take up where Pulse left off. Joining Vince is Pulse bandmate Andy Mills on bass and James Wright on drums. Vocalist Rick Chase hails from Double Cross, a fine British melodic rock band in their own right. His vocals are perfectly suited for this material and with any luck Vince has found a line-up that will exude less drama than the goings on within Pulse. The album contains some really superb straight ahead melodic rock and AOR, all with a classic British AOR influence. And I mean really superb song writing! These are some very fine, very catchy typical melodic rock songs that will definitely find the ear of a lot of fans. However the production quality again remains an issue as it seems to be with every O'Regan produced record. I just keep getting that tinny drum/keyboard sound and despite a drummer attached to the project, a drum machine vibe too. Sonically it is mastered with an emphasis on a thin rather than the big fat beef sound it deserves. I swear that at times one can hear tape hiss on the playback. I would prefer to concentrate on the positives of the project, which are the songs. That said, I believe the guys kick off the album with one of the weakest tracks. Get Ready is maybe my least favourite track of the entire album. I much prefer the Def Leppard Photograph vibe of Masquerade, which has a fine chorus hook, and the more urgent No Reason. The rock ballad Gabrielle has a big Firehouse / American rock feel to it and is a taste of an era past. By Your Side is a superb mid-tempo melodic rocker with a great chorus melody and lead vocal. Out Of Love sounds distinctly like a Double Cross melodic rocker and is another strong track. Who's Foolin' Who sees this band carve out their own sound with another impressive hook while Yesterday's News is another good ballad. It has an old school Poison ballad vibe to it too. Nothing Changes is reminiscent of a couple of earlier tracks and that Double Cross vibe. Another album highlight even though it doesn't deliver anything we haven't heard before. Lost On The Inside offers plenty of keyboards and some nice guitar soloing, even if the production is very thin. A good chorus hook again too. The acoustic driven Why is an ok mid-tempo ballad, but not equalt to the strength of the rest of the material. The album closer is a cover of Neil Young's Rocking In The Free World. Tobe honest, I could do without Alibi's version. Once you have the original and Van Halen and Bon Jovi covering it, anything else isn't going to match.
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| Eden Open Minds | Majestic Rock Records MAJCD086 |
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Eden is a UK melodic rock band that features Nick Workman, vocalist for one of my favourite bands Kick, and guitarist Vince O'Regan (Bob Catley, Pulse, Alibi). I'm a big fan of Nick and I'm pleased to hear anything he releases, be it with Kick or solo. Eden is an interesting album it mixes traditional British melodic rock with a more adventurous edge, which sometimes sees the guys head off into a more experimental range. If I'm honest with myself, it isn't the easiest album to listen to it doesn't adhere to any typical melodic rock boundaries, instead challenging listeners to pay attention with additional instrumentation and some unexpected musical passages and pace changes. Workman's lead vocals are what sells this record for me. It's not an easy album to describe, but I don't think it would be unfair to suggest that it is part Kick, part Pulse, part Led Zeppelin inspired classic rock and part something a little different again. The album differs from Kick in that it is not as modern in feel definitely more classic rock, yet with an aggressive edge at times that gives it a heavier vibe. Helming the sound is the Tommy Denander of British rock Vince O'Regan. I've not always been enthusiastic for his production skills, but his guitar playing is of the highest caliber. True to form, I'm not sold on Vince's production of this album the whole guitar/keyboard/drum sound is much as it always is a little on the tinny side and not beefy enough. Those familiar with Pulse and the last Catley album will know it well. Sadly my enjoyment of those two albums were affected by poor production. However, this alum is a lot more comfortable to listen to, so credit where it is due. As far as the song highlights - Close Your Eyes isn't the big melodic rocker you might expect to open any album, but it gets better each listen. The moody Fools Parade is a more instant track and the closest thing here to Kick. A great chorus melody and lead vocal add to the intense feel. Chase The Sun features a strong lead vocal and an interesting and somewhat adventurous passage midway through the song, plus some fine guitar work. Heads Up is a great all out rocker as is the even faster paced All Fall Down, which is another track that has a sparse sound that becomes better with each listen. On a softer note, How Far You Are is a terrific ballad, filled with and emotional vocal and great melodic hook. The album closes with the varied and intense rocker Erase And Rewind.
A beefier sound might have helped deliver the message the band envisioned, but at the end of the day, it is a piece of work the guys can be proud of. It will be down to the individual tastes of Kick fans as to how this rates with them.
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| Mikey Jones The Light Of Day | E-Z Sounds EZSCD001 |
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While Kick vocalist Nick Workman was off working on his record, band mate and guitarist Mikey Jones was working on one of his own. The Light Of Day is the debut solo album for the Kick guitarist, which like Eden, is a little of the traditional Kick sound mixed with something new. Both Nick and Mikey have experimented a little with their solo albums and let's face it, Kick do the same with their albums, so don't expect straight ahead melodic rock here. The Light Of Day is a little closer to the sound of Kick than Eden is, then adding even more mood and intensity. Mikey does a fine job here as lead vocalist, not to mention adding some pretty intense and intricate guitar parts. My only problem is that I don't think the vocals are clear enough in the overall sound. They are either hidden by effects all the time or lost in a muddy mix. I think perhaps Mikey underrates his abilities, but I think the very fine songs of this album would have benefited even more had he believed in himself to push the vocals to the front of the mix. Taking a look at some of the tracks - Suffocating really pushes boundaries, but at its heart is a catchy keyboard hook. Who ? is an instantly catchy melodic rock which is probably the most commercial track of the album and my favourite. Drunk On Emotion is more sentimental in nature and has another strong chorus. No Tomorrow follows the mood of the ballad, but picks up the tempo a little while delivering another good chorus, even if the vocals are a little too processed by effects. As One is another strong and moody ballad while the title track and Swear Blind continue the moody mid-tempo feel set by No Tomorrow. I'm not sold on Lament, but the feel good duo of Summer Daze and The End Of Time closes the album closes the album on a nice anthemic kinda feel. There are 2 hidden bonus acoustic tracks which I will leave as a surprise for those that grab the album.
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| Felony First Works | Escape Music ESM138 |
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One of the more pompous and overblown intros in recent memory will be the first thing listeners get to hear of Swiss rockers Felony. This band's sound is hard to describe, but I'll do my best. Progressive pomp melodic hard rock? European Symphonic pop/prog? Whatever the banner you choose to slot the band under, there is a lot going on within this record. Too much for some I'm sure, but to break it down, fans of light progressive with a big symphonic pomp twist will be wise to check this out. The band also features both a male and a female lead vocalist. They don't take individual songs, but rather both sing in and around each other on each track. It makes for an interesting listen, but again, won't be for everyone. Their vocals are well matched as they duet and also sing in unison through various parts of the album. The biggest problem with so much music going on and some very complicated vocal parts is getting it all into place. Wisely the band has chosen the highly regarded European producer Sascha Paeth to work magic for them a move that pays off. Regardless of personal taste, this album sounds very well put together and mixed evenly and cleanly. Track highlights? It is a pretty consistent album to be honest. The music must suit the ears of the listener, but the title track Felony, plus My Way, Justice and the big ballad Promising Heart all deliver strong melodic moments.
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| Planet Alliance Planet Alliance | Metal Heaven 00025 |
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Planet Alliance is an apt name for this project. A stack of European melodic metal stars have formed an alliance to record this record. Stars of Cloudscape, Last Tribe, Ozzy Osbourne, Hammerfall, Freak Kitchen, Narnia, Rob Rock and more gather under the watchful eye of Magnus Karlsson (Last Tribe, Allen/Lande) to produce something similar to Karlsson's recent work such as Starbreaker, Allen/Lande and Tony O'Hora. Far from an instant album, this one takes a lot of listening to and in the end doesn't quite reach the heights that Karlsson's previous work has. It has the same style, but not the same substance. For the names involved, it could be a better album than it is, but I think that all comes down to the songs featured. Karlsson has set the bar impossibly high with his previous work and while this album features a similar style and theme, it just isn't as memorable as the aforementioned recordings. I think the album repeats itself a little and for whatever reason I am not warming to the voice of vocalist Mike Andersson (Cloudscape) as much in this context. Looking through the tracks, The Real You is a knockout opening track the most commercial and instantly memorable song of the album, with a slight gothic overtone and a killer double kick-drum tempo. Remember Me also features a strong chorus, but it required a few listens to get into properly. Ain't No Pleasin΄ You is one track I don't think works as well as intended. It doesn't flow as well and the chorus isn't the most likable. Calling My Name is better from the outset. A frantic pace and instantly cool guitar riff/song melody. A good chorus, but some killer guitar work. A Taste Of Paradise is an example of where the album begins to sound a little same-ish. The Quickening is a nice variation a slower, moodier approach and one of the album's best tracks. Divided We Stay and It's Your Cross To Bear offer more of the same as earlier tracks, but perhaps without the standout choruses. On a brighter note, The Great Unknown and Where To Go are stronger tracks and are the best of the second half of the record.
Competition in the market place is stiff and with this release I tend to think that I have heard it before. That said, what I do hear, is mostly still very good and the sound quality is unquestionable.
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Moonstone Project Time To Take A Stand |
Majestic Rock MAJCD080 |
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This is a rather interesting release. A lot of work has gone into this, yet I remain unsure of how much the traditional melodic rock fan base will go for this.
And I'm even more unsure of how much I personally will play this once the review is completed. This is one of those records that will appeal to a specific section of the rock fanbase and not so much outside of that circle. Moonstone Project is a hard rock blues rock record based around the talents of Italian guitarist Matt Filippini, who also co-writes all but one track here that track being a cover of Free's Fire & Water. What makes this a project is the number of guest stars and man, this record has an extensive list of names. A different vocalist handles each track and lining up are James Christian, Glenn Hughes, Kelly Keeling, Graham Bonnet, Eric Bloom, Paul Shortino and Steve Walsh. Guest musicians include Howie Simon, Ian Paice, Carmine Appice and Daniel Flores. The album is obviously a true labor of love for Fillipini. It is extremely well played, sounds sonically solid but is it likeable enough? There is an air of self indulgence here and the album can be slow paced plodding at times but if the right fanbase are targeted; (ie traditional blues rock fans), then there is bound to be some impressed punters around. The album kicks off with a fairly laid back blues rocker Slave Of Time, featuring Kelly Keeling. I don't think it is one of the album highlights, but does set up the overall theme and style of the album for listeners. Not Dead Yet features Graham Bonnet in full raspy vocal force. The tempo is better suited to getting the momentum rolling and might have been a better album opener. Fire And Water is an average cover of the Free track featuring Italian vocalist Enrico Madidini. Rose In Hell and Where Do You Hide The Blues You've Got both feature Glenn Hughes in full blown blues mode. You know Glenn can sing this stuff in his sleep and does an admiral job here. The former rocks a little faster, the latter is a slow blues number. Beggar Of Love is an uptempo blues rocker featuring James Christian. Not a bad track, but not the usual fare for Christian. City Of Lights featuring Steve Walsh has an appealing chorus hook and some great vocals for fans of Steve's. Pictures Of My Lonely Days features Paul Shortino and is a pretty classy old school blues rocker with a solid hook. On The Way To Moonstone is a full blown 70s psychedelic rocker featuring Eric Bloom and Chris Catena on vocals. Again, quite an accomplished track, but not one I will play too often.
But, be warned that this is a blues project and is best suited for fans of that genre.
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| Rekuiem Time Will Tell | Majestic Rock MAJCD073 |
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Rekuiem are a British melodic metal outfit that rock like its 1983 and there's no holding them back. A couple of tunes pull the tempo back to reflect a little, but for the most part, this is an in-your-face metal outing, with tempo matched only by the flaying guitars. What I like about this album besides the overall old school vibe is the guitar playing. The sound is a little thin, the bass is too far back in the mix and the guitar could be chunkier, but Steve Slater can shred, no doubt. I'm also enjoying the classic metal voice of Paul Parry, who while playing tough guy throughout the album, can still deliver a good vocal melody. Highlights include the great classic metal opener Nightmare; the semi-acoustic/semi-metal ballad Time Will Tell, which transforms mid-song; a cover of the legendary Sabbath tune Paranoid; the energetic Angel Of Sin and the epic closer Sacrificial Wanderer. Diamond Head guitarist Brian Tatler guests on Warewolf with a blazing solo, which should give people another clue as to the band's direction.
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| Slamer Nowhere Land | Frontiers Records FRCD276 |
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Mike Slamer only releases a new album every couple of years for a good reason. They are all total quality releases. In fact, they are all perfect! The man is a perfectionist and a production genius. Mike's best accomplishment in the melodic rock world to date has been the two Steelhouse Lane records, more precisely the second one Slaves Of The New World. That was an incredible melodic rock record that I always wish I gave a perfect 100 to, as it continued to grow on me past the review time and is still has not lost any of its brilliance and remains a record I recommend to all to buy without hesitation. So many fans have been looking forward to a new Steelhouse Lane record. While that is unlikely to ever happen, Mike has still kept making records with two studio and one live album with Billy Greer's Seventh Key project. Seventh Key was a slightly different beast to Steelhouse Lane same Slamer trademarks and same perfect production style, just a little different manly due to Billy's own personal influences over the record. Looking to get back to making records for himself, Mike Slamer teamed with Strangerways/The Sign vocalist Terry Brock to form Slamer. This band is different beast again, albeit one with definite similarities to his recent work. In fact, I would describe the Slamer debut Nowhere Land as a direct cross between Steelhouse Lane and Seventh Key. There are influences from both present. Brock certainly makes his mark here, but also present is Billy Greer, who contributes some very prominent harmony vocals. Incidentally, Brock helped out with harmony vocals on the last Seventh Key album, so you can see the crossover style here. The album is more proficient as far as progressive elements and has more technical nuances than Seventh Key. Over however, I think this is a far mellower album than I expected, or perhaps than it could have been. That really isn't a bad thing; it merely means one must perhaps be a little more selective as to when to play it. It is more a mood record than the 'play anytime' Steelhouse Lane records. One thing is for certain. This album features some the very finest guitar playing and finest AOR solos that I have ever heard. Mike Slamer's control of his instrument is unparalleled as far as I am concerned. Every track features a new reason to be amazed be it a technical shred, progressive lick or slow, controlled emotional solo. Amazing just does not cover it. Not one note or syllable is out of place here, which is a testament to his technical genius. The record is ultra smooth and produced to perfection. There are a couple of small issues that prevent this album from reaching a perfect score. The biggest surprise for me is perhaps the vocals of Terry Brock. His voice is awesome on this album he sounds smoother than ever. He sounds a million bucks here. I must add however, that in some way, his rough, raw and raspy edge has been polished over somewhat. There is part of me that misses that edge. And that same notion applies for the whole album. It is simply so tightly produced and is so slick in the delivery that I can't help but feel the edge of Steelhouse Lane is missing. The other thing I found is that the momentum of the album is not helped by the track sequencing rocker / slower / rocker / ballad etc. A revised order where the tempo did not alternate might have offered a better slightly better flow. Minor points for what is really a technically perfect slice of melodic rock. Track By Track: As is morally and contractually required all Slamer albums must feature a classic 'big intro' - one that builds the tension before the opening song bursts to life. This album is no different. The intro to Nowhere Land features some mighty guitar riffs and a slight progressive touch. Once underway Nowhere Land lets the listeners know that Slamer is going to be packed with - well...everything you expected! Nowhere Land bobs and weaves its way through 6 minutes of harmonious vocals and changing landscapes, mainly painted by some serious guitar theatrics and a pounding rhythm section. The tempo is immediately pulled back to allow a slow guitar solo to set up Strength To Carry On. This is an amazing track that couldn't be more packed with melodies. The tempo may be slow, but the hooks are glorious. The soaring chorus is the most obvious reference point, but there is so much to listen to throughout the track, including a mid-song bridge, intricate guitar parts and subtle melodies that become known after repeated plays. It's back to high octane levels with the rocker Not In Love. A 90 second passage of progressive guitar plays kicks the song off before falling back into a more familiar groove. The verse swaggers along, and then the killer chorus backed with harmonies galore bursts through the comfort zone. This is another 6 minute track, so there are a few diversions along the way. Certainly not your average formulaic melodic rock! The 8 minute ballad Come To Me is something out of the ordinary once again. I'm not big on the tempo going back and forth between fast and slow on alternative tracks, but this stuff is just so good. It's nearly 2 and a half minutes into the song before we hear the voice of Terry Brock, with the atmosphere and the tension being built constantly. Brock's voice is so smooth, so emotionally charged and the chorus is once again layered with rich harmonies. Some fine soloing closes out the track. Time to rock again and the groovy Higher Ground quickly becomes an album favourite. Brock sounds just a little bit grittier here and rocks it a little more - as does Mike Slamer with some hard edged guitar riffing and a good strong song tempo. But the chorus! AOR glory of course! The song features more amazing guitar solos and some truly out of this world uplifting layered vocals towards the end of the track. Jaded follows the album formula and starts slow. Terry Brock never sounded so smooth and sweet as he does here and Mike's guitar playing is eloquent to say the least. Out of nowhere there appears a heavier, faster and more intense bridge / chorus double play that as it continues on keeps getting bigger and bigger and is another example of perfect high-tech AOR. Beyond the Pale is another slow and dramatic song that takes a few minutes to build before some fine laid back guitar soloing and moody keyboard parts take the song into its second half. Not a lot of singing within this one it's more an epic movie score type of song. It features more haunting and emotional vocals from Terry and more hidden melodies that reveal themselves with time. Runaway again starts slow. More slow guitar soloing builds a fairly sparse track before various layers are added and the song builds to another orgasmic multi-layered chorus that rocks a little harder. This song concludes a mid-album triple play of sultry, moody AOR that appears very laid back to start with, but gains intensity as you get to know the album. Audio Illusion is a much needed straight ahead melodic rocker. The song is all hooks and all high-tech harmonies and layers and layers of instruments. I'm not sold on the hook, but I love the fact the lyrics are having a dig at the modern day pop music industry. Perfect Circle is part of a hard rock double play that closes out the album. Great hooks, great harmonies and a strong chorus and a relatively straight forward approach. Superstar is even better. This is straight out of the Steelhouse Lane hand book and is the heaviest and most hard rocking track of the whole album. I could have used another couple of tracks like this dramatic, intense and a little progressive also. It rocks!
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| Sunstorm Sunstorm | Frontiers Records FRCD302 |
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Joe Lynn Turner has forged a long and successful career playing classy blues driven hard rock. He has fronted Rainbow and Deep Purple and won worldwide acclaim. But the one album that kick started it all remains a fan favourite to this day. And that album wasn't a hard rock or a blues rock album. Joe's solo debut Rescue You was a glorious slice of pure melodic rock that showcased a side of JLT's voice we haven't heard a lot of over the years. Beneath that gravelly authentic rock voice there is a smooth, soulful and totally commercial side to Joe that finally gets to shine again on Sunstorm. Sunstorm is a project built around Joe and the decision to showcase his AOR voice in its best possible light a return to the Rescue You album stylistically, yet with production values matching today's sonic demands. Instead of putting pressure on Joe to write an album of new songs capturing an old vibe, the label worked through a song list of classic and unreleased AOR songs with Joe which both parties thought would best capture his melodic side and deliver fans a quality AOR release. Boy, did they get that right. The songs chosen range from a few AOR classics, a few more obscure tracks and some unreleased songs from the desk of Jim Peterik (Survivor, Pride Of Lions, Kelly Keagy). The songs selected are a very special set of songs. But none of this would matter if those involved couldn't get the sound right. In steps Mr. Perfect - Dennis Ward. Dennis produces, adds backing vocals, bass plus additional guitars and keyboards. The man is a machine. Also featured are Uwe Reitenauer on lead guitars, Chris Schmidt on drums and Jochen Weyer on keyboards. The powerhouse band adapt perfectly to the AOR material and add an extra dimension of power to Joe' delivery. The band also gives this release a slightly European feel, which is no problem at all for me, as frankly - the Europeans have kicked the USA's butt this year. The album is utterly and totally melodic in that pure AOR sense and it retains an 80s soul, but the kick-ass band and tight production give it a quality that makes it contemporary enough to compete with the best releases of 2006. And Joe Lynn Turner? Where does one start with the compliments? Basically he just sings his absolute bollocks off here and sounds like an angel driving a Leopard tank demolishing these songs with the gusto of a 20 year old. Track By Track: Keep Tonight is a perfect opening track, an AOR guitar riff kicking off a track that is bathed in keyboards. True to the edict of the album, this is pure AOR with a 80s feel, but not an outdated 80s production. A catchy chorus and some ultra smooth vocals set the album up beautifully. Fame And Fortune picks up the tempo a little more and continues the guitar/keyboard dual going. This is straight ahead melodic rock, performed perfectly. Heart Over Mind is one of two classic tracks lifted from Van Stephenson's breakthrough AOR masterpiece Righteous Anger. This emotional and powerful ballad suits Joe to a tee and I have seldom heard him produce such a smooth, soulful and emotional lead vocal. This Is My Heart picks up from the ballad brilliantly. This begins a powerful one-two punch of AOR gloriousness. This song remains subtle and mid-tempo through the pure AOR brilliance of the verse and bridge, until a more powerful rock chorus takes over. Then there is the amazing Strength Over Time a song full of heart and soul and most importantly glorious AOR hooks! It just keeps building and building and Joe's vocals are so good that this song will be up there with the very best come the 2006 Awards. The album needed a slight reprieve about now; otherwise emotional exhaustion might set in! Another You is the perfect foil. I don't even have to see the song credits to know this is a Jim Peterik tune. This is one of Jim's adult contemporary style numbers that doesn't have a feature chorus, but rather runs along a set melodic story path. The best thing about this album is the song sequencing. When working with a selection of songs written by various outsiders, the biggest challenge is to place them into a sequence that sounds as if they were written for the one album. Dennis Ward does that perfectly here, so just when needed, a big rocker is delivered to get the album's momentum rolling again. That rocker is of course Van Stephenson's in your face anthem Fistful Of Heat. Love's Gone Wrong pulls thing back one notch but keeps the album rocking. This is another perfect fit for the album and for Joe. A snappy guitar riff, melodic verse and bridge, then a punchy keyboard filled chorus. Quit simply more glorious old school AOR! Night Moves is a more straight forward melodic rocker with a heavier delivery and a tough rocking chorus. Time to head back to some more glorious and classic AOR in the guise of Danger of Love. A mellow but very melodic verse kicks into a great AOR chorus with yet more astounding vocals from Joe. Making Up For the Last Time is a mellower more sentimental mid-tempo ballad that fans of old school 80s AOR will love. The prefect love song for a summer movie soundtrack. To close the album we get a song many will be familiar with. The Jim Peterik/David Carl ballad Arms Of Love. This is a nice sentimental way to close the album and again showcases a very fine and smooth vocal from Joe.
This album features a killer set of songs and some amazing performances. It is a real crowd pleaser for those that partake in this melodic music scene and even if you don't own a single JLT album this might just make you aware of what a special vocalist he is. Sunstorm is my brand new favourite ever JLT release.
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| Avalon Avalon: The Richie Zito Project | Frontiers Records FRCD303 |
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Avalon in the name bestowed upon the new Richie Zito project. But this is a little different than what might normally be expected of the famed producer.
Avalon sees Zito return to his musician ways, playing guitar, bass, synth and even a mandolin, all the while producing the affair and writing the material.
Check the production credits for Zito, you will always see that he is a very hands-on guy helping with the co-writing and adding additional instrumentation to the albums he works on. Here he gets to do it all, except sing. That's where AOR fans get a real bonus. Richie calls in all his friends from past projects and it is these singers that make the album what it is. Zito is one of my favourite producers of all time. His work and his style are perfect to my taste. I don't think there is a more technically superior producer in the business and all his albums sound a million bucks! All except for this project! Yes, the one thing that confuses me most about Avalon is the occasionally questionable production quality. One would think that Zito would have the ability and every desire to ensure something with his own name on it was as sonically perfect as his more famous work. I think it all comes down to budget. Richie is used to working with major labels and major dollars. It is sad and unfortunately reality that there simply isn't the interest for an album like this outside these circles normally covered by this site. So it all comes down to smaller budgets and smaller resources. That sad, the production really isn't that bad. It's just a little rough in places and across the album it does vary a little. What exaggerates the problem is that the main two culprits are the opening track and track 3. The better produced songs are further back in the album. Plus, coming off a month of listening to Mike Slamer, just about anything is going to sound rough! Track By Track: Blue Collar opens the album in fine pure AOR style with a very smooth Hugo vocal up front. The production quality sounds a little rough to me, but the song is entirely enjoyable and features a very memorable and instant chorus. Is He Better Than Me just adds more quality music to the great time vocalist Joe Lynn Turner is having these past few years. This is a great 80s sounding classic melodic rocker that starts slow but builds to a very commercial and catchy chorus. JLT sounds great as usual and the track itself is a perfect match to his own Sunstorm record. Eddie Money makes the first of two appearances on Nightmare, but as much as I love Eddie, this track is very rough around the edges and I think it misses the mark somewhat. To jump to later within the album, it is on I Put My Life In Your Hands that everyone redeems themselves. This is a classic Eddie Money song and sounds like it could have been lifted directly off the brilliant Can't Hold Back record. Jumping back to the middle of the album, Oh Samantha is a very fine AOR ballad featuring a finely tuned Joseph Williams. Great for JW fans. Avalon is a moody, but uptempo AOR rocker featuring the always fantastic Danny Vaughn. Quite simply, this track is a must for all Vaughn fans. Eric Martin contributes two lead vocals to the tracks of Avalon and he does not disappoint. The mid-tempo melodic rock anthem Life Got In The Way is a little rough as far as the sound quality, but brilliant for its melodic qualities. Eric also closes the album with the very smooth pop ballad I Don't Want To Want You. Once again essential for Martin fans. Blue Monday again features Hugo, but alongside him is Giorgio Moroder. It's mainly Hugo here and the song is another fine uptempo melodic rocker. The retro ballad Forever I Will has a touch of the blues and features Richie Kotzen. It is a little out of character from the rest of the album such is Kotzen's distinct style and delivery. At the end of the album we fine two amazing pure AOR tracks with the great Philip Bardowell on vocals. The another ballad Can't Forget You and the more straight forward Good Things Take Time are both very catchy and very memorable example of great AOR that mirror the sound of Bardowell's own solo album of last year.
The fine vocal performances and the satisfying sequencing of the songs makes for a very easy to listen to album and all in all, this is another must have for fans of traditional AOR.
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| Taz Taylor Band Welcome To America | Escape Music ESM137 |
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Who is Taz Taylor and his band? That question is about to become easier to answer as once this album is released as Taz and Co. should find themselves on the receiving end of some new fans and a greater public profile. Taz is a British guitar player that moved to the US in the late 90s and has been working on this album ever since. He has hooked up with a fellow Brit in Graham Bonnet famed vocalist for Alcatraz and Rainbow. Taz is a fan of the classic hard rock style displayed by UFO, Rainbow and Michael Schenker and those influences play out over this record. This record offers melodic rock fans a taste of classic British hard rock in the form of a gritty guitar dominated record that also features some fine lead vocals from Bonnet. Bonnet has probably seen better days as a vocalist but this album represents one of his best performances in a long time. The album is also very nicely produced. It is clear and evenly mixed, but not too polished as to remove the gritty edge such an album needs. Star of the album for me though is Taz himself. While he may not be a household name, he makes a strong mark here with some impressive guitar work. There's a certain shred and solo component, but overall the album feels very restrained and well constructed. There are also a few very enjoyable passages of slower more delicate soloing, such as the cover of Gary Moore's classic Parisienne Walkways. Highlights amongst the album include the rocking opening track Fighter's Fist; the melodic friendly Radio Luxembourg; the moodier Haunted which features an intense vocal and Wall Of Sound, which is think sounds like classic UFO.
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| Sammy Hagar Livin' It Up | Rhino / Cabo Wabo Music R2 74097 |
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Sammy Hagar has always followed his heart and once again on Livin' It Up he proves to be his own man and changes things in a way that not everyone is going to get or accept. I expect very mixed reviews for this record from the press and fans alike, as you are either going to get it, or you ain't. I get it. Totally. Even before talking to Sammy about this album, I could hear the conviction and passion behind it. After speaking with the Red Rocker, I can attest to his passion, comfort and total self belief in what he is doing. In recent years Sammy's live shows and his life in general have drifted towards embracing the Mexican way sun, surf, beach and tequila. Sammy has two of his own theme bars, his own exclusive tequila beverage and a growing legion of fans that are with him all the way. The only thing missing was to take this lifestyle theme into an actual record. Livin' It Up is now documented proof of the change within Sammy Hagar. He's as happy as a pig in shit and he wants to tell the whole world. He does so with a thoroughly infectious record that you really just can't help but like. Unfortunately some fans are just not going to be able to get past the change in musical direction and in some ways this record hands Sammy's critics the ammunition they have been looking for. I don't think Sammy's lyrical style has changed too much here, but there are more obvious lifestyle references dotted throughout the record, to the point where this could be considered a concept record about embracing everything that is good within Sammy's life. There is a noticeable country twang through the record that has and will leave some scratching their heads, including a couple of full on country tunes and the majority of the album is driven by an authentic earthy and acoustic vibe. Take the style aside and you are able to analyze the performance. And that's where Sammy gets major credit. You can really hear the energy and the electricity within this record. Producer Bob Daspit has captured the band in a raw, live atmosphere, but at the same time has ensured that the record has a crisp, sharp feel that Sammy's recent solo recordings have missed. The record sounds perfect and Sammy's individual performance is one I would rate among his best. His voice has seldom sounded so in shape - smooth and comfortable, yet also delivering that trademark rasp and the odd scream like it was recorded 20 years ago. Track By Track: Opening the album is the infectious groove of Sam I Am, which frames the album perfectly from the outset. A little slide guitar, a little twang and a classic Hagar vocal drive a catchy as hell hook. Living On A Coastline slows things down with a beach boogie vibe. A relaxed happy lyric is delivered with conviction by Hagar. The feel good harmonies and a catchy chorus suck you in. The opening two tracks are vital to the message being delivered here and they leave you with no doubt where this album is going. I imagine some folks might stop right here, but you will be missing some fine music if you do so. Mexico is a more rocking track, driven by a grittier lead guitar and some Santana like drum rhythms, especially later in the song. The breezy mid tempo rockers The Way We Live and I Love This Bar compliment each other perfectly before the Kenny Chesney/Sammy Hagar written One Sip pays further tribute to the fine Mexican way. Making a resprise appearance is Halfway To Memphis (from Not 4 Sale), this time easily the most country themed track of the album, complete with slide guitar, that distinctive twang and a laid back acoustic delivery. There are a few covers once again on Livin' It Up. I Love This Bar covers the Toby Keith hit but may as well have been written by Hagar himself and Rainy Day Women covers the Bob Dylan classic once again more or less true to Hagar's lifestyle philosophy and is here perfectly adapted to the feel of this record. Then there is Hagar's adoption of the Staple Sister's classic Let Me Take You There a the track you have already heard and in its position gives the album a nice uptempo lift. Sailin is a relaxed and happy acoustic pop song, not quite a ballad and not quite a country tune. It features a sweet vocal and more feel good vibes. Someday is a short acoustic country ballad that closes out the album and the story contained in relaxed fashion.
Those looking for a glimpse of the lyrically more intense Sammy, evident on Marching To Mars or with Van Halen might have to rely on those records for your fix.
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| Rob Lamothe Long Lazy Curve | Livewire/Cargo LW016-2 |
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To some degree Rob Lamothe remains an unsung genius. To those that 'get him', his music is poetry and his lyrical insights are matched by few.
Rob may be best known for fronting the Riverdogs, but his solo work is a growing body of amazing music but is more marginalized as far as who it will appeal to. Rob solo is more singer/songwriter in approach and is largely acoustic driven with a sometimes folk-ish approach. In his favor, Rob really has a raspy, haunting quality to his voice which facilitates raw pure emotion flowing through to the listener. Take a listen to a track like Ashes To Ashes. Rob's warm raspy vocal sucks you in to his world, a place where you believe every word you hear. I'm happy to report that this album is a little more uptempo than the last couple, which is something I was certainly hoping for. Romeo's Barbershop, with its chorus hook and electric guitar riff is an album highlight as is the more acoustic, but uptempo pop rocker Good Enough For Me. Til Forever Is Over may be a little too country for some, but its raw energy and honesty are engaging. The album closes with three laid back songs penned and entirely played by Rob. More testament to his talent, but I prefer the fuller band tracks of the rest of the album. The album is produced by Canadian veteran Tom Treumuth and sounds sonically balanced and fresh.
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| Joseph Williams Two Of Us | WHD Entertainment |
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This album was slated for release some two years ago but disappeared without explanation, leaving me to believe it was off the radar for good.
But here is this Japanese only release, with a new title, but the same 11 tracks within. Joseph is one of the great AOR vocalists there ever was, his time with Toto perhaps the best known and more recently his two Vertigo releases. On this album Williams allows his vocals to be the main focal point of the album, accompanied only by a grand piano on each track, hence the title if one was to hazard a guess. It is safe to say that Joseph's vocals are not as smooth as they once were. Time has lowered his range and given him a raspier delivery. And in a few places Joseph avoids going for that big note most obviously on Unchained Melody. Still, the passion and emotion that he carries is still there and some of his fanbase will appreciate this. I do call myself a fan, but in this case I find it hard to get very passionate about this release. I am not a big fan of covers albums and one filled entirely with ballads is not something I am going to play too often! 50 minutes of slow piano ballads is just too much for me. There is some real cheese here Because You Loved Me, We're All Alone, Can't Help Falling In Love and Save The Best For Last the worst offenders. There are a few famous rock ballads Everything I Do (I Do It For You), Don't Want To Miss A Thing and I Can't Fight This Feeing all desperately trying to hold my attention. But in the end they don't and I find myself longing for the pure AOR strains of Toto's Seventh One.
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| Demon Angels Time Of Confusion | Perris Records PER1722 |
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Demon Angels is a new band that on this occasion features the great Robin McAuley on lead vocals. The band appears to be a piecemeal kinda of affair, with the rhythm section based in Italy (where their parts were recorded) and then American guitarist Chris Falco and featuring "special guest" lead vocalist McAuley also responsible for putting this all together and producing the album. But as special guest, Robin delivers all the lyrics for the album with Falco providing the music. Anything Robin appears on is going to have instant appeal as he really has a great voice for this kind of music. And for the very reason that Robin sings his ass off here, the record is made all that much better. To be honest though, without Robin I doubt this album would have scored a record deal. It just isn't that memorable. The music and the riffs and even the lyrics have all been heard before a hundred times. The production is ok, average but the uptempo songs rock and the guitars are nice and loud, which saves it. Then there's Robin's voice. He sounds great on this material which is classic style hard rock and is some of the heavier material I have heard him sing since MSG's Save Yourself. Highlights include the double time rocker Let's Dance which features some great guitar work, the opening groove of Gonna Get It and the more melodic Victoria. The second half of the material on offer is nowhere as strong as the opening 4 tracks.
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| Andy Logan Ride | KOAN Records K-313165 |
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There's some good singer/songwriter stuff around at the moment and former Little America guitarist/vocalist Andy Logan delivers another one of those albums. This is his second full solo album and sees him on form. Andy has a dark and raspy voice, and stylistically delivers a mix of Little America style Americana mixed with a darker more southern mix of s blues, country and rock essence. There's also a little acoustic country in there and a pronounced soulful vibe. This is far more bluesy and roots based than the more commercial Little America and I think this album has a certain limited appeal which in itself it just an observation, but probably a shame, as the musical credibility displayed here is no less valid than the best of another melodic rock artist. If the last Charlie Sexton album appealed and Rob Lamothe is also a favourite, this is more like a Midwestern meets Southern USA version of Rob's sound. This album features 14 short and honest tracks with some fine slide guitar and some raspy narrative vocals. |
| Edguy Rocket Ride | Nuclear Blast |
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Some will wonder why the hell it has taken me so long to review what is one of 2006's best metal releases. Easy the band's record label. Yes, I got the promo, but be buggered if the whole thing isn't completely ruined by a lame voice over every minute or so, reminding you what you are listening to fading the music in and out to do so even during the choruses!! Dickhead record labels
That's just too bloody annoying sorry so I never reviewed it. Now I have purchased the original retail version so I can write a review without wanting to throw the disc out the window. Originally released in January, Rocket Ride is Edguy at their best. The album is immaculately produced and is a true in your face melodic metal album. The crunch of guitars is almost worth the price of the album alone. Mixed with a pounding rhythm section, the songs really do jump through the speakers. But what makes this album for me is the band's extra attention to detail come chorus time. There are more harmony vocals on here than on some AOR albums and each song has a definite chorus to remember, which is what draws the listener back for more. This German melodic metal outfit has come up with some great material here and the production is truly world class. The opening track Sacrifice is immense and more than 8 minutes in length, but Wasted Time, Return To The Tribe and the mellower and very melodic Save Me and Superheroes all deliver classic riffs and melodies too. The band doesn't sound like Masterplan, but they do have the same philosophy as far as including hooks and melodies within some bone crunching hard rockers. Check them out. |
| Evergrey Monday Morning Apocalypse | Inside Out |
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This is another killer album from a few months back that I want to give a little press to. Sweden's Evergrey have changed their approach a little for this release, which sees the band toughen up and modernize their sound somewhat. This is a hard rocking metal release, but one that's very melodic and has a unique style. The guitars are uncompromising and in your face, there are modern production effects and occasional overdubs, yet never does the band forget to include a melody and a good chorus hook. Evergrey have dark and moody style which is almost gothic at times, and their delivery is also mixed - aggressive, sometimes progressive and sometimes just straight ahead melodic hard rock/metal. Which ever way you look at it, they are delivering something cool and different and given that this album is so well produced, they offer a quality product when at times it is hard to find something original to check out. |
| Choirboys Big Bad & Acoustic | Liberation Music BLUE087-2 |
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This is how you do an acoustic record
brilliant. Strip it back totally, re-arrange only when absolutely necessary and put down some straight-to-tape emotional and appealing lead vocals. What's more include your very best and well known tracks and a few classic album cuts, plus a couple of quirky covers. All the band's classic tracks are included here from the rockers Struggletown, Run To Paradise, Boys Will Be Boys and Empire. A few of the ballads are also stripped down Never Gonna Die and Cold Outside being favourites. A couple of covers Bad Boy For Love (Rose Tattoo) and the Vanda & Young penned Hey St. Peter. Perhaps there is only the singer that remains in the band, but live and on record here they put in a great collective effort and this is perhaps my favourite of all the Acoustic Blue releases to date. |
| Jon Stevens The Works | Liberation Music BLUE086-2 |
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Jon Stevens is a little different. One of my favourite singers on the planet, he continues to be his own worst enemy in misunderstanding what the public want of him. We want a new rock record or a new Noiseworks record. But for whatever reason (only Stevens knows the answer) these never come. Now we have this unplugged record, which is half brilliant, half crap. The Noiseworks tunes were destined to be stripped back for acoustic purposes and here Touch, Take Me back, RIP, In My Youth and Simple Man all sound brilliant. Hot Chilli Woman, Miles And Miles and Freedom are not far behind, all driven by Stevens soul driven power rock voice. But no Stevens record would be complete without a self indulgent portion, so the record buying public are once again subjected to some of the horrid R&B that was his featured on his solo album Ain't No Life For The Faint Hearted, which sold next to no copies. Basically I feel like skipping through the middle 5 tracks of the album to avoid these tracks and get back in the swing at track 9 when the Noiseworks classics continue. No one wanted to hear Stevens do the horrible Doors cover Light My Fire once and they sure don't want it again (now in stripped back form) here. Rock Mr. Stevens please ROCK! |
| Inxs Switch (Tour Edition) | Burnett / Epic 82876894762 |
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This is purely and simply a cash-in CD and I have a pronounced dislike for such releases. Inxs are about to hit Australia for a full tour so naturally a Tour Edition of their hit album Switch appears just in time. Thankfully this is one cash-in that delivers some value. This is now a 2 disc set with the original album and a bonus disc. On the bonus disc is 4 live tracks Pretty Vegas, Hot Girls, Devil's Party and the essential Hungry. All good versions and good honest live recordings. Then there are 3 video clips Perfect Strangers (the new single), Afterglow and Pretty Vegas. Additionally there is a very interesting 30 minute documentary the Making Of Switch. All very good viewing, with the downside of it being CD Extra formatted, rather than a DVD you can watch on something other than a PC. Switch was a very good album that remains so and these extras are a nice incentive for those that don't yet have the album or those that truly have to have everything. But as per usual, it is a deep shame that record labels and artists continue to reward the lazy fans. Those that bought the album immediately have to buy it all over again for the bonus features while those that couldn't be assed initially now get a cool bonus. That just doesn't seem right. |
| Ten The Twilight Chronicles | Frontiers Records FRCD299 |
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Multiple line-up changes and dodgy re-recordings of past hits aside, Ten still have a passionate fanbase and a considerable catalogue of material many bands would be proud to call their own. I have said before and I'll say again, not too many bands of the recent era can boast as many albums to their name as Ten can. This is the band's 8th album of all new material and after giving their last album the 10th Anniversary re-recorded hits release a bit of a bollocking, I am happy to report that Gary Hughes and the gang are all but back on track with this release. I'm not sure how appealing an album of re-recorded hits is anyway, so if you are one of those that have just been collecting the new studio albums as they come along, this will sound like the band has not skipped a beat since their Return To Evermore release. There is a slightly different feel to this album, but with Ten that has often been the case as they have moved through their 10 year history and into their 11th. I really like this release, but then again, I have liked every Ten release (of new material at least!) to date. This album is going to appeal to those that liked the band's earliest couple of releases and the last studio album. Fans of the heavier middle period of the band's history such as Spellbound might not be as enamoured with this album. And while I think the band is definitely back on track, I wouldn't go so far as to call this release classic just very good. I'd like to take this opportunity to hail this album as lead guitarist Chris Francis' best work in the band to date, with some fine soloing throughout and a nice mixture of sounds and textures used. John Haliwell's riffing as usual holds it all together. The 12 minute Prologue and opening track Rome sets up the album and while not overly catchy and certainly rather long, it drifts into The Chronicles which is pretty much a classic Ten track Gary Hughes' dulcet tones, soaring guitars and a great chorus hook. The song's structure and method of moving between verse and the chorus is trademark of what Ten have done in the past. The familiarity will be appreciated by fans. The Elysian Fields is all too familiar also - but in a good way. It is nothing I haven't already heard before, but this 7 minute ballad has a sweeping, haunting quality not unlike the band's early sound mixed with Return To Evermore. Hallowed Ground gets the tempo back up and rocking again. A glance at the CD indicates another epic is upon us, this one running some 10 minutes. A nice guitar fuelled 2 minute intro lines the track up nicely. Its some 5 minutes into the track before the full bridge-chorus-hook set up becomes totally apparent, but it's worth the wait. A nice guitar solo launches the track into its next phase, but at about the 7 minute mark things begin to wear a little thin as the track merely repeats earlier parts. There is no need to make this an epic for the sake of being epic. The track isn't that classic it needs to be this long. This Heart Goes On is a typical sentimental Ten ballad with all the necessary elements heartfelt vocals, piano, stand out guitar lick. Surprisingly, as much as I like the song, the chorus is nowhere near as big as past ballads. Oblivion amounts to what is my first real surprise of the album. I dig this album and the songs, but there really aren't any surprises until you get to this track. Oblivion is one of the most commercial and openly upbeat tracks I have heard Gary write and perform. This is a cracking uptempo pop/rocker with a nice guitar riff and a brilliant chorus. Some seven minutes long, the track still ends too soon and I just love it. The Twilight Masquerade heads back into more familiar territory. While getting off to a slow start, the typical rocker does build and brings a memorable chorus-bridge double once it hits its mark. Tourniquet is somewhat different for the guys. This is another lengthy rocker, but the guitar sound is far dirtier and grittier for the lack of a better word. Gary's vocals remain smooth throughout and the chorus is ok, but the guitar rules this track. Born To The Grave is also a little different. Typical Ten in its delivery, but a little left of center as far as the sounds of the melody and the layers within the song. It makes for an interesting listen, although at the end of the day it is not among my favourites of the album. Closing the album is another epic well, 7 minutes and bit at least. When The Night Is Done is a slow starting moody piece of music that builds slowly during its run. No major chorus hook here, but subtle vocal memories and a lush, layered approach to the music. It certainly has an epic feel and closes the album in a mildly dramatic fashion.
Still, there are some new Ten classics to be enjoyed and I think the die hard fans will be more than happy with the results. The production quality is back on track and the real drum sound makes a welcome change from the Anniversary release. A couple of bigger choruses are about all I could ask for.
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| Fair Warning Brother's Keeper | Frontiers Records FRCD297 |
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Fair Warning return after a break some fans thought might be permanent. The band broke into two side projects Dreamtide and Soul Doctor both offering something a little different from the traditional FW sound. But fans always want the original and I am happy to say that Fair Warning pick up exactly where they left off with their comeback album Brother's Keeper. The band hasn't changed anything. Brother's Keeper mixes the best of 4 and Rainmaker and sees the band use the same guitar sound, vocal style and production feel as their past records. Everything that the band is known for is back - the guitars are big, the keyboards swirl in the background, Tommy Heart is in fine voice and the overall production has that epic feel. Don't Keep Me Waiting kicks off the album in fine uptempo bravado typical Fair Warning. Generation Jedi continues the big rock feel before the sentimental ballad All Of My Love gives fans something to wave their lighters to. Rainbow Eyes lifts the tempo a little, but the rocker Push On Me puts the album back in overdrive. Wasted Time is a strong ballad, albeit a rocking one. Another highlight is the mid-tempo Once Bitten, Twice Shy, which is a nice change in the album's general formula. The bonus track Still I Believe is one of the album highlights and I'm glad it was included. It is one of the more melodic and commercial tracks of the album. All I Want To Do is a nice poppy kind of way to close the album, but adding 6 minutes of silence at the end before a 30 second Bavarian chant blasts through the speakers is not a wise move in this age of iPods and MP3 files. Two small points to add. Firstly, I'm sure long time fans will wholeheartedly disagree, but I think the 70 minute playing time is, in this case, a little too long. And the band's guitar sound the tone these guys use isn't for everyone, but I suspect the established fan base who are used to it will be buying this without hesitation.
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| Axel Rudi Pell Mystica | SPV |
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Ah, the ever reliable Axel Rudi Pell returns for another mythical goblin inspired romp through the European hard rock Kingdom of Predictabilia.
I really do like this album, but then again, why wouldn't I? Axel once again takes the blueprint of the last 5 albums and adds new riffs and new lyrics to create this, the 6th studio album to feature Johnny Gioeli on lead vocals. I have liked every one of these albums as they are all essentially the same - a short guitar intro, 9 tracks, 2 epics a couple of slower tracks and some great melodic hard rockers. I don't know if there is a point where you could justifiably start to get annoyed that essentially the same album is released time after time, but if it ain't broke why fix it? And this album is no different. I think there is a good portion of Axel's vast fan base that would riot if his album veered off the set path. Mystica is immaculately produced, well executed, features solid performances and if you like the past albums there are 9 more classic ARP songs here. The differences or stand out points of this release? Well, Johnny Gioeli sings his ass off. There really are some fine vocals on here and some of Johnny's best extended screams that I have heard. His voice is perfect for Axel and is the thing I look forward to the most. Here he certainly does not disappoint. Song wise no surprises, but Rock The Nation works particularly well for me, as does Living A Lie and the big ballad (with some fine guitar work) No Chance To Live. This passionate ballad and the title epic track Mystica feature some utterly brilliant vocals from Gioeli and it really is hard to ignore the infectious nature of the songs. The score reflects the quality of this album and the fact it all but matches the quality of recent releases. Deduct 20 points if you were looking for something different!
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| Lunatica The Edge Of Infinity | Frontiers Records FRCD300 |
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Lunatica are one of those take it or leave it kind of artists. You have to be into their vibe to be into the album. Their vibe however, is one that does have a considerable fan base. European Symphonic hard rock is a market of its own with a slew of band's vying for the fan dollar. Lunatica have taken steps in the right direction to become a bigger name. I'm not sold on every track here and I think they need to work on their hooks a little further before breaking into the big time. What appears a fairly innocuous listen over the first couple of plays comes to life once you get to know it a little better and that's when the passion of the guys becomes evident. But the strong opening doesn't quite carry through the whole record. Sons Of The Wind is a great example of doing everything right a powerhouse arrangement, authorative vocals and some dramatic symphonic passages of music. The rock ballad Who You Are features some sultry vocals before crashing into something larger than life this is perhaps the album stand out and definitely the track I would be promoting as a single. Out! is darker and more edgy and reminds me of Evanescence. In fact, comparisons to Evanescence and also Nightwish are inevitable given the band's style and their female lead vocalist. Lunatica might just have the ability to compete with them though. I spoke of the need for stronger choruses and I think that is highlighted through the middle of the album before the double kick drum fired Worlds Unleashed grabs your attention. Former Asia frontman John Payne contributes a fine passionate duet on Song For You, while personal favourite Oliver Hartmann appears in duet on a refrain of the closing track Emocean. However, the same song twice in a row diminishes his contribution and I would have dropped the initial version entirely in favor of the one featuring Hartmann.
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Various Artists It's So Easy - GNR Tribute |
Versailles Records |
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I like the guys at Versailles Records, but I think these tribute albums have reached their use-by date. A few guest stars appear for each volume and the rest is made up of the same names and faces and at times, the same tracks from past releases re-appear. In the case of this Guns N Roses tribute, the notable names are Jizzy Pearl, Tracii Guns, Gilby Clarke, Joe Lynn Turner and Phil Lewis. Trouble is, the quality is just too varied to make a consistent release. Highlights include Drama Queen Die's Think About You, the ever reliable Richard Kendrick's version of You Could Be Mine and then Jizzy, Tracii, Gilby and Randy Castillo join forces for Sweet Child O Mine, which is more or less faithful to the original and the vocals of Jizzy sound pretty cool. On the other side of the coin Joe Lynn Turner appears as part of The Slashtones doing Pretty Tied Up. I love Joe but bloody hell, this track sounds like utter shite and he might regret being involved on playback. The sound quality is horrid and the backing vocals laughable. And that is the biggest problem with this whole project. The sound quality is for the most part very average. Hearing little known bands such as Valerian, Radio Vipers and Joe Town perform songs other well known artists have already paid tribute to just doesn't add up to an essential purchase. |
| Shark Island Gathering Of The Faithful | Frontiers Records FRCD292 |
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The return of Shark Island
who would have ever thought it? This is a great thing for fans of the band, unanimous in their belief that the band's career was cut short before they ever reached their full potential. There remains such a passion for the band's debut album Law Of The Order that this release is bound to find it's way into many hands. Those that didn't pick up on the band first time around get a second chance here, but I feel that the majority that will be impressed with this release will be those long established fans. This is a very interesting release. It is not entirely as I expected it would be, but after living with it for some 2 months now, I could not imagine it being anything else. First a little background before eventually splitting up, the band wrote and recorded a staggering amount of demos. Many have grouped these tracks and one certain grouping was being traded as the band's unreleased second album. Truth is, things never got that far. The great number of demos were just that and no second album was ever recorded. Until now. Gathering Of The Faithful is the result. Frontman Richard Black proclaimed that the band would first have to go back before they could possible move forwards, so on this album, the band's choice of 13 of their best original demos were gathered and re-cut from scratch. No polishing or re-mastering here - these are 100% new recordings and in some instances, completely new arrangements of some well traded classics. As a long time fan of the band, these songs are very familiar. The 2006 arrangement and fresh treatment of them however is not. I think fans that know these songs will be of the same opinion I have. At first the new arrangements took some getting used to. I was very surprised on at least a couple of occasions. The band have put a new spin on a few tracks here and the production and overall sound quality is perfect for the band. It is clear and mixed brilliantly. The band individually sounds as good now as they ever did. The vibe might be a little more laid back in places and the album is definitely a more mature piece of work, but the class of the band as writers and as musicians shines through in every way. Several tracks have a more acoustic base and a raw, stripped back feel, yet the attitude of the debut remains. The feeling of a mellower album is probably exaggerated by the relatively relaxed way the album starts. Blue Skies and Tomorrow's Child are acoustic driven and somewhat easy going compared with the angst of the debut. Then there is the sultry The Stranger, which although slow in tempo, is a more riff driven track and features that trademark Richard Black snarl. The uptempo pop/rocker Go West typifies this album. It has the bluesy swagger of the band's traditional sound and a great little chorus, but is more relaxed in the overall vibe. The rock ballad Welcome Goodbye is a very cool update on the original demo. Haunting, soulful and totally commanding of the listener's attention, the song features a warm but edgy vocal and spells out why this band means so much to fans. The subtle, smoldering rocker Life Goes On sees the band dabbling with their Led Zeppelin affinity and is another testament to the musical ability of the guys. Down To The Ground is one track that hasn't been changed much from how it was written. I saw this track performed live by the band once in 1992 and to this day the melody remains familiar to me. This is classic rocking Shark Island and I love it. Looking For The Sun has been updated beautifully. It was always a sentimental ballad, but this version features a brilliant vocal and a terrific updated arrangement. Another highlight. Heaven has been rocked up a little and given a slightly more modern guitar sound, but still rocks as it always has and is another typical Shark Island rocker. If I Had A Dream is another of my long time favourites songs of the 'lost demos'. In this case it has been given the most dramatic facelift of all the tracks. The uptempo anthem rock ballad has been turned on its head to be a soft, subtle, emotional and haunting ballad, with an acoustic guitar and a raw, emotional vocal delivering the message. It has taken the most getting used to, but is such a classy song in every way. Will To Power is another traditional bluesy Shark Island rocker and like Heaven and Down To The Ground, could easily have been lifted from the debut. Same could be said of Need Your Love and Temptation, which fulfill the trend of the album getting heavier as it progresses. These two dramatic hard rockers have been updated with a more contemporary sound, but the style will be easily recognizable to long time fans.
Shark Island devotees finally have another album they can wrap their ears around and imagine most will be impressed. What cannot be mistaken is the class of the performance and production, which helps bring some classic songs into the now.
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| Brother Firetribe False Metal | Spinefarm Records |
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Its Finland's turn to deliver a classic old school style melodic hard rock album wrapped up in a contemporary delivery and backed with a monster production and retail promotion. Sweden has The Poodles and Norway has Wig Wam. Finland has Brother Firetribe, the band formed by Emppu Vuorinen guitarist for symphonic metal band Nightwish. The band also features an amazing vocalist in Pekka Ansio Heino a melodicrock.com regular and all-round good guy. Emppu brings some of the symphonic flavor of Nightwish to Brother Firetribe, especially with the dramatic keyboard passages that dominate this record. The band has a flair for the dramatic and it's interesting to hear keyboards billed equally with the guitar parts. Swirling keyboards take command and along with the extremely likable vocals, drive the melodies, while the guitar is used primarily for supplying the underlying riffs and when the occasion calls for it, some flashy solos. The band's sound is reminiscent of the big American 80s synth driven high-tech production, at times reminding me of some of those classic American soundtrack anthems. This style is mixed with the band's European roots for a truly unique, yet familiar sound. Think early Bon Jovi meets Treat with a dash of Cheap Trick and Van Halen for good measure. Vocalist Pekka has a commanding voice that at times sounds a little like Cheap Trick's Robin Zander in his 80s hard rock mode. No wonder that the guys sound so comfortable covering Cheap Trick's rock anthem Mighty Wings, from the Top Gun soundtrack. It sums up the band's creed totally. As for the songs themselves, the guys can't do a thing wrong. This is an album packed with one great track after the other. The album opens in dramatic style with the moody synth drenched Break Out, moving seamlessly into the sentimental rocker Valerie, which delivers a knockout chorus. I'm On Fire is a moodier again and features a more restrained verse before one of the year's biggest choruses blasts through the speakers with the deafening roar of keyboards, guitars and massive vocals. The powerful and emotional ballad Love Goes Down has a dramatic flair, while Devil's Daughter lightens the tone a little. My pick of the entire album is the big dramatic anthem rocker Midnight Queen which bursts through the speakers from the first note. The commercial beat and tone of One Single Breath is a good choice as the single, but every track stands on its own here. Lover Tonite has that dark synth driven Cheap Trick feel again, Spanish Eyes is a little darker again, but still hits hard and closing the album is Kill City Kid, a track which is more guitar dominated than any other on the album and packs a real punch, featuring another big over the top chorus.
Essential stuff for long time readers of this site and yet more proof that European bands are kicking major ass.
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| Saracen Vox In Excelso | Escape Music ESM135 |
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Saracen has been doing their thing for some 25 years now. At this point the only original members are vocalist Steve Bettney and guitarist Rob Bendelow, but ask just about anyone and they would say the signature guitar and vocal sound are the most important ingredients to any band. This British melodic, symphonic hard rock band has a style of their own and a certain unique way of doing things and I must confess to not being pulled in on previous occasions. For someone not sold on a particular band, what harder a prospect could there be than be faced with reviewing a 73 minute concept album about the history of the Knights Templar?! To my surprise, this was easier than I anticipated. That is because Vox In Excelso is a very fine record indeed and one, despite it's subject matter, is far more accessible than you might think. The sound quality is also excellent. The album is tightly performed and well recorded, with a powerful sound and clear mix. The lead vocals of Bettney are both authorative and graceful and help drive the melodies home. What I don't like is the female narrative every song or two, important in one sense to help convey the complex and lengthy story line, but annoying at times also. The music here is dominated by guitar and those strong vocals, but there is also a boat load of swirling keyboards and a lot of additional texturing, such as haunting backing vocals, dark and moody acoustic effects and an instrumental or two. The album has been very well put together and as concept albums should, flows easily from start to finish. Symphonic rock fans get their bit (Where Was Their God, Priory Of Zion), hard rock fans get plenty to chew on (Meet Me At Midnight, The Order) and fans of epics get the 9 minute Mary to dissect. The first 1000 albums will be available in special edition booklet format, rather than the conventional jewel case presentation, which will make for a nice complete package to deliver the story in.
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| Evil Masquerade Third Act | Escape Music ESM134 |
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I'm surprised to see that after two pretty ordinary albums, the band actually found a label interested enough to give them a shot at album number 3.
It seems however, that band mastermind Henrik Flyman was determined to top previous efforts and set about working hard on the songwriting and then concentrated on the production quality. Thankfully I am happy to report that he has done a fine job at improving both. This album sounds far superior sonically than either of its predecessors and the songwriting is also several notches above what I expected. The best change of all is new vocalist Apollo Papathanasio (ex-Time Requiem). He brings a far more commercial European metal feel to proceedings and the mostly over the top warblings of the band's original singer are gone. The subject matter and the delivery of the songs - classic demons and wizards style neo-classical metal stereotype material is still somewhat larder than life and definitely an acquired taste. But there is a certain restraint shown here not previously evident and as stated the quality of the songs and the production make this quite listenable more than I can say about the first two records.
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| Stonelake Reincarnation | Indie |
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Stonelake is the Swedish duo of Jan Εkesson (instruments) and Peter Grundstrφm (vocals). The band has roots going as far back as the mid-80s, but only recently did the stars align in favor of the guys recording their first album. And quite a debut it is too. The band's own bio describes their sound as accurately as I could - melodic hard rock in the vein of Deep Purple, Led Zeppelin and Bad Company, but later era acts such as Whitesnake, Van Halen, Journey, Riot and Dokken. The end result is a powerful guitar driven melodic hard rock record which is big on melodies as well as riffs and featuring some powerhouse higher pitch vocals along the lines of Tony Mills, Tony Harnell and Rob Moratti. The band has quite a groove too, and impressively, they don't have the feel of a duo. The quality production gives the guys that full band sound. Once through the intro, the double hit of You Strike Me With Love and Saint Or Evil gets the album off to a heavy rocking start. Riffs dominate, but very melodic choruses and some soaring vocals make them very memorable. All I Need is a more keyboard friendly AOR number, with a more laid back commercial feel. Mistreated Heart makes for a great blend of the two styles so far a big groove and solid hard rock riffs, but lots of keyboards and a big AOR chorus. Mason (The Miracle Boy) retains the hard rock heaviness, but is another very accessible melodic rocker with another strong chorus and some serious guitar work. Walk On The Rainbow walks that heavier path as the opening songs of the album did, while Only One Reason and Call My Name feature great choruses and a certain commercial flair. Reason features a ton of keyboards surrounded by some big riffs while Name is all riffs! Wonderland closes the album with one of the heaviest and hardest hitting tracks of the album, with a double kick drum rhythm pounding furiously along with some swirling keyboards.
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| Dragon Sunsine To Rain | Liberation Music BLUE090.2 |
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I tried, I really did try. I love Dragon with a passion. I grew up listening to them and they deservedly remain Australian rock icons. It was with deep sadness that their fans saw the demise of the band when lead vocalist Marc Hunter died on cancer in the late 90s. I was very surprised to see the Dragon name resurface. All the original band are gone aside from Marc's brother Todd. Now he has decided to get back to what he loves and that's great. Too much talent to waste doing nothing. Todd's back playing the Dragon classics to re-launch the band, delivered here in this unplugged full band setting, featuring new singer Mark Williams the fellow New Zealander who is best known for his hit single Show No Mercy and his vocal coaching on Australian Idol. The songs here are all genuine classics .I love every one of them. But hard as I try, I can't get into this album. The biggest hurdle for any act to overcome is the replacing of a singer and in Dragon's case, the singer was not only the backbone and heartbeat of the band, it was his unique voice that made these songs the classics they are. Without him it is obviously not going to be the same and no one would expect it to be. But I don't like William's voice here. He's a soulful cat, no doubt and has a fine voice in itself, but for these songs it goes nowhere and simply acts as a barrier to enjoyment. I don't like what he has done with the songs and I had a hard time getting through the album at all. Case in point the beautiful Age Of Reason (originally written by the band but covered by John Farnham). This track is the one song to feature an archive recording of Marc Hunter. Bloody hell, it sounds utterly brilliant powerful and emotional. The inclusion of this track is a double edge sword for the band. It is the best song of the album, yet it highlights just what is missing from the rest of the vocals.
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| Hydrogyn Bombshell | DA Records |
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The much hyped Hydrogyn have been making waves for some time now, their debut album Bombshell recorded and produced by the great Michael Wagener. Lead by the saucy Julie, this American hard rock outfit has a classic hard rock sound. I'm hesitant to make comparisons to anyone, but the sound is traditional American melodic hard rock with a slight 80s feel, but a contemporary up to date production thanks to Wagener. I guess fans of Wagener's past work with Skid Row and Dokken and those that like female lead vocals will find definite appeal here. Musically the album is mostly uptempo and guitar driven in your face stuff, with Vesper's Song kicking things into high gear from the outset. Blind has a certain intensity to it; Look Away SP is more aggressive and contemporary; Love Spoke is very commercial with a great pop hook; the straight forward AC/DC cover Back In Black has since been replaced with a Skid Row cover; Whisper and Come Back To Me are the album's ballads and make for a nice change in tempo. One concern for me is that the band is using Julie's femininity to promote the band as a whole. She is only part of the very tight package that makes this album work.
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| Violent Divine Violent Divine | Chavis Records CD0010 |
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I think the first thing I noticed about this album was the big guitar sound and just how crisp and clear it is. The guys have a nice little sound here, mixing old school American hard rock (Motley Crue, Guns N Roses, Ratt) with more updated contemporary influences (Nickleback, Foo Fighters, Shinedown). The vocals of Michael Ahlstrom have that modern rock drawl, yet the driving rhythm section is more in line with what you might hear on Motley Crue. The riffs come thick and fast and the songs are really quite accessible. The guys have great energy here and credit to the guys for capturing a raw, live feel in the studio and retaining a high quality production sound. The Morning Show and Levitate both have the swagger and modern rock credibility to be heard on radio just about anywhere, plus have cool choruses to draw in the listener. This stuff is far better than any Nickleback, Creed or even Jet perhaps. Let's Go has a punky rhythm LA Guns might deliver and Ghost In The Machine rocks hard. I think the quality drops a way a little on the last few tracks at least as far as the chorus and melodies go. The tracks themselves still rock.
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| The Poodles Metal Will Stand Tall | Lionheart LHICD0035 |
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There is a real renaissance happening in Europe, with some young guns doing great business actually playing traditional melodic hard rock. What a concept! The likes of Wig Wam, Brother Firtetribe and The Poodles are uniting old and new fans alike and collectively are kicking America's ass. The Poodles are 4 of Sweden's best session guys (members of Talisman, Lions Share, Zan Clan, Dalton), who first started playing together as a cover band to huge audiences. Best known to readers to this site will be guitarist Pontus Norgen who is famous for his work in Humanimal and Great King Rat among other things, and incidentally is also Europe's live sound guy. Metal Will Stand Tall is an apt title. Along with the two aforementioned artists, this album sees the guys deliver the best style and attitude of the classic era of commercial hard rock mixed with an updated and gigantic production sound. There is no reason why any fan of the old school glory days shouldn't like all three albums as all three are equally brilliant. Where The Poodles are a little different from Wig Wam and perhaps even The Darkness is their approach to the music. The Poodles are a little darker, a little more serious and a little heavier than Wig Wam and more guitar orientated than Brother Firetribe. A few tracks stand out first time around, but a dozen listens in proves there are no fillers present at all. This is a pretty varied album and the change in vibe between tracks takes a little getting used to. At first glance, you would perhaps deduct that the album is not as consistent or cohesive as the awesome Wig Wam album, but after living with this for a few weeks I'm inclined to think it is every bit as good. I generally prefer things a little darker and moodier and while there are a couple of great feel-good party rockers here (Metal Will Stand Tall, Number One), the overall vibe is more serious and tracks like Echoes From The Past, Night Of Passion and Shadows all rock hard and feature very memorable choruses, but also have a serious edge to them. The band has their own way of doing things. Take the intense moody rock ballad Song For You. It features the same dark groove apparent throughout the album, but in a twist features guest vocals from Jonas Samuelsson-Nerbe, who I guess is the Swedish answer to Pavarotti! The uptempo and anthemic Lie To Me has a strong contemporary edge and Rockstar is a brilliant melodic pop rocker with a slow beat and quirky melody. Even the cover of Ultravox's 80s new wave pop hit Dancing With Tears In My Eyes has a darker, more menacing twist. The big power ballad of the album closes things out. Crying is a radio hit in waiting and complete with orchestral parts ensures the album ends on the highest of highs. I love the crunchy guitar sound, I love the very melodic but powerful lead vocals and i love the pounding rhythm section.
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John Waite Downtown - Journey Of A Heart |
Frontiers Records FRCD293 |
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As most should know, John Waite is one of my all time favourite singers and songwriters. His music means more to me than most artists and I remain passionate about his best work. However, I am at a point where I am losing my patience with him as an artist. Journey Of A Heart is an album of re-recorded Waite "highlights" and for the second time in a row, fans are served up an album that includes a meager 2 new tracks. But that is not my only frustration. For the second album in a row, another new version of the classic, but over cooked Missing You is included. John has such a rich catalogue of inspiring rockers and heartfelt ballads, but it seems his legacy is being tied to this one track. And for the second album in a row, one of the two new tracks is a Bob Dylan cover (John's third Dylan cover overall). It has now been 5 years since the last all-new studio release Figure In A Landscape, itself not a classic, but at least it was all new music. Long time fans deserve something more fulfilling than this. I honestly don't know who is going to buy this album. I suspect it's only real appeal will be among casual fans in Europe that have not had the desire or the ability to purchase last year's self-released The Hard Way record (which featured several remixes of the Figure In A Landscape album, 2 new tracks and a new acoustic version of Missing You), or the hard to find duo of Temple Bar (bankrupt label) and the original release of Figure In A Landscape (bankrupt label). The bulk of the material for this release comes from those 3 albums, plus a couple of classic Babys tunes (Isn't It Time and Headfirst) and Bad English's When I See You Smile. Die hard fans have all but 2 of these songs already, so in their case, they will be looking towards the substance of these new versions to see what spin John has put on them. That unfortunately unfolds another problem. As the title suggests this is a collection of John's more laid back songs, more ballad friendly and peppered only with a couple of rockers the two Babys tunes to be precise and the pop/rock of the opening track The Hard Way and the mid-album Keys To Your Heart. The rest are all laid back ballads. On top of that is the stronger than usual country influence over the music. You'll hear slide guitar and a country twang on several tracks, such as In Dreams, Downtown and the all-acoustic When I See You Smile. Missing You in this instance is a duet with country crooner Alison Krausse and is all but a bonafide country ballad. For long time die-hards fans like myself, there isn't much here that screams essential. There isn't enough difference between the originals and what's included here - perhaps these are a little more organic and live to tape. The more uptempo conclusion to the classic Downtown is an interesting twist, but aside from that, it is all very straightforward. Although I don't care for the Dylan cover Highway 61 it is genuinely authentic and Waite's vocal is one of passion and self belief. You can hear that he loves the song and the style of vocal. But I don't see the fans adopting Waite's enthusiasm for the track or the artist. There remains one high point for me within this album. The other new track is an all new original from the writing partnership that brought you Downtown (perhaps John's best song ever?) and New York City Girl (another classic). Yes, Glen Burtnik returns with another song and yet another classic from his work with John. St. Patrick's Day has all the passion and beauty of Downtown and is without doubt a stunning track that I believe all Waite fans will adore. Why don't these two guys just make a record together already?? John Waite doesn't have to be the rocker for me to be satisfied. I just have to hear that voice of conviction and that haunting emotion that was so evident on Temple Bar and on parts of When You Were Mine. This album doesn't have any of that passion. I mentioned breifly the choice of material. John has such a vast catalogue of unreleased material and I am totally confused as to why none of it has been tapped into. There is at least 15 tracks that are of the same style and feel as Temple Bar - a definite fan favourite. If John was not keen on writing new material for an album, why not tap into those treasures rather than dish up this all too familiar set of songs?
Additionally - if you are going to do a career retrospective, go the distance and fill up the CD. There's another 20 minute of spare time that could have been utilized here. There are only 11 tracks here, as a 35 second instrumental should never be classed as a song. 11 relatively laid back tracks just seems somewhat lazy. As for the score - well, sound quality isn't in question; the songs themselves are all classics aren't they - but I think the song selection as such is very safe and there is no way I can give the overall album any better than I have, and I think most long time fans will agree.
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| Shooting Star Circles | Frontiers Records FRCD291 |
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US melodic rockers Shooting Star return after way too long with a new studio album minus one lead singer - but with an equally good one stepping into his shoes. Gary West and Keith Mitchell have both held the mike for the band, but in deciding to reform again now, the guys had to make an important choice. Who would best represent the new material and help the band move forward? In my mind they could not have picked anyone better than AOR favourite Kevin Chalfant (The Storm / Two Fires). Kevin has one of those instantly likable voices and is perfectly suited to the melodic friendly material featured on this album. If anything, he takes the material to a new level and into a more AOR friendly area. There is a natural earthy timbre to this album and the songs themselves are marvelous. The 10 tracks featured are thoroughly enjoyable and although varied, are held together by some strong performances by Kevin and guitarist Van McLain and some fine choruses. I don't hear any fillers in play at all. The songs move from guitar driven Midwestern melodic rock (Runaway, Trouble In Paradise, Temptation) to straight AOR (Without Love, George's Song, What Love Is) via a little southern rock n roll (Everybody's Crazy), sometimes reflecting an 80s vibe and at other times a more timeless classic rock feel (Borrowed Time, I'm A Survivor which features some shredding guitar work). The only problem with this album is the production quality. It does these songs and the guys performing them, no favors whatsoever. The whole album sounds very hollow and the mix is not at all consistent, varying from track to track. While the quality of the lead vocals is not in question, the tone sometimes is. At times they have a tendency to sound as if they were recorded in a cupboard and the guitar sound is also quite muddy. Worst offender though is the truly pedestrian drum sound. It kills the impact of the rhythm section completely and therefore knocks some of the power out of these songs.
It's great to hear Kevin back in the melodic rock business and I'm hoping his partnership with the band continues for a long time to come. But next time, perhaps a bigger recording budget and name producer might achieve a better overall result.
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| Stephen Pearcy Stripped | Sidewinder Music 60024-2 |
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I have been pretty critical of the last couple of Pearcy releases. His chosen solo direction is definitely not to my musical taste and I questioned how many old fans of Pearcy's would really be into his current fare. No such problems with this album. What better way to connect with the past than actually cover the past in an intimate live setting. Stephen has been involved with the VH1 Stripped series from the outset and continues that collaboration with this live unplugged album, recorded in March on LA's Sunset Strip. Pearcy and band (including the always cool Chuck Wright on bass and Scott Coogan on drums) rip through 12 Ratt classics including Slip Of The Lip, Way Cool Jr, Lovin' You's A Dirty Job and of course, the essential Round & Round. What makes the CD ever more interesting and more personable is Pearcy's commentary between tracks and interaction with the audience. His rock drawl and couldn't care less kinda attitude suits the delivery of the songs and the whole rock n roll persona Pearcy is known for.
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| Heed The Call | Metal Heaven 00021 |
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More bloody Swede's! What, does every band in that country have a recording deal? Per capita, I seriously know of no other country with so many great bands of various genre's all doing so well. Heed are a little different from the traditional fare featured here. But still well worth checking out if the style fits the taste. Heed play a blend of modern rock and Scandi influenced melodic metal. Singer Daniel Heiman has a very likable voice and adds power, finesse and melody to these bone crunching modern hard rockers. Singer Heiman and guitarist Fredrik Olsson decided to leave their former band Lost Horizon to form Heed and one can only hope the guys go on to gain as much momentum as Lost Horizon had in Europe. They have carried over much of that band's sound, but perhaps making it a little more contemporary again. One cannot argue with the song quality either. I Am Alive gets the album off to a flyer with some in your face guitars and menacing vocals; Last Drop of Blood remains dark and intense, but the vocals are more melodic; Salvation features some astounding powerhouse vocals and The Other Side pegs it back a little for a more melodic moment. The album closes with the acoustic ballad Nothing. A Nice showcase for Daniel's voice, but don't bother sitting thru 10 minutes of silence for 2 minutes of pure metal aggression that is hidden away at the end of the album.
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| Vengeance Back In The Ring | MTM Music 0681-166 |
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So while fans wait for a new AC/DC album, they can sit back and soak up some good old-fashioned guitar driven accadacca style rock n roll courtesy of Dutch legends Vengeance. Armed with a crystal clear production (thanks to Mr. Everywhere, Michael Voss), a thumping rhythm section, in your face guitar riffs and a perfectly raspy Bon Scott style lead vocal, Vengeance re-appear after a long hiatus to deliver one of the more enjoyable straight ahead hard rocking records of the year. Absolutely no frills here just 11 in your face rockers - guitars everywhere and just a few keyboard parts all delivered with more energy and enthusiasm than I anticipated. What is most surprising is the all-star team on board to help create the album. The album is made up of songs co-written by Michael Voss with frontman Leon Goewie, plus other contributions from Paul Sabu and Mat Sinner. The Sabu contributions are of the more melodic of the album (the moody Captain Moonlight and the keyboard dominated Now And Then), while the rest of the album just rocks! From the outset, this is all old school rock n roll Back In The Ring, Holy Water, Bad Attitude and Cowboy Style are all great fun.
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| Deacon Street II | MTM Music 0681-164 |
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As we all know, guitar great Tommy Denander is one busy little bugger, with his hand in about 138 different pies. Deacon Street is the excuse to gather material into one place from many of those projects. The first release gathered a round of unreleased songs that were not suitable for the individual projects they were recorded for. Same goes with this second edition. Songs written for projects still needing a home have found one here. So in line with the many great people Tommy works with, this album is filled with great names such as Jeff Watson (Night Ranger), Steve Morse (Kansas, Deep Purple), Reb Beach (Winger, Dokken), Bruce Gaitsch (Richard Marx, Madonna, Peter Cetera), Bill Leverty (Fire-house), Daniel Flores (Sha-Boom, Faro, Philip Bardowell, Speedy Gonazales), Vinny Heter (Radioactive), Tony Franklin (Blue Murder) and more. Featured lead vocalists should all be familiar to followers of Denander's work. They are Thomas Vikstrφm (Talk Of The Town), Andreas Novak, Johan Fahlberg (Jaded Heart), Chris Antblad (Spin Gallery), Geir Ronning, Peter Sundell and Stan Bush. This is pretty easy to review if you are a Denander fan and have all the Radioactive, Sayit, Talk Of The Town and Rainmaker releases then why are you even reading this review? Go get it. The quality of the songs and the sound quality is not in question both sound great and I cannot see any Denander fan being disappointed. There are some great AOR tunes such as the almost perfect opener Beautiful Chardaine (Peter Sundell of Grand Illusion) and also Now We Cry For You (Stand Bush), plus a couple of superb Westcoast ballads like I Give This Promise (Chris Antblad). The only downside of the album for me and it's not an insignificant issue is that the various singers/players and the fact the songs are from different sessions and different studios, creates an album with an ever-changing vibe. Oh, and I could have gone without the cover of Action by The Sweet. A rather overdone track, but the cover of Paul Stanley's Easy As It Seems is more enjoyable and very authentic.
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| Street Talk V | MTM Music 0681-167 |
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Street Talk was the last album I played in the office Friday afternoon and now Monday morning it is still buzzing around in my head. Leaving the legacy of this band where it was would have been a great waste of talent, but band founder Fredrik Bergh is not one to skip on quality and did not think he could raise the budget required to do a new album justice. MTM Music wisely saw the value of the Street Talk name and came to the party and 18 months later here we have the new album. To cut right to the chase, this is the best Street Talk album to date. While none of the 5 albums vary greatly from the straight AOR/smooth Westcoast path, this album still stands out for a couple of important reasons. V is an album which I think is more consistent than any previous Street Talk release. While the musical path is no different, the extra time taken writing and recording the album means that the quality of the songs featured is better than ever. There is not a single filler on this album and I'm not sure I could say that of past releases. Upon first inspection I think the listener will spotlight two particular tracks as the album's standouts. That's what I did, but second listen in there were now 4 highlights. Then 6 and now I have different favourites depending on my mood. The other key to the consistency of this album is the wonderful, classy and faultless vocals of Goran Edman. He puts in possibly the best if not the smoothest vocal performance of his career on this record and is a joy to listen to. And even better, Fredrik drops his predisposition to use at least one other vocalist per album, so Goran gets run of the shop here and that helps this album even further. I often find the inclusion of different vocalists counter productive to the flow and consistency of an album, so I'm thrilled that Goran is the only man featured here. More credit also to Bergh for an impeccable overall sound. While all the Street Talk albums have sounded very good, this one sounds truly great. It is layers thick with keyboards and subtle guitar parts, not to mention the perfectly mixed lead vocals and layered harmonies. What makes the album great is the thumping rhythm section, which really drives this record not only through the uptempo numbers but also during the soft ballads. Track By Track: It is impossible to isolate the best tracks, which is certainly a compliment to the quality of the album. So one must talk about them all Responsible is about as up-tempo as it gets for Street Talk and so it is that this feel good rocker kicks off the album. Gloriously bathed in melodic vocals and pepped up by a simple guitar riff, the song just glides, with the more pressing chorus lifting the tempo further. One of the best AOR tracks of 2006 without doubt. Don't Believe is somewhat moodier and less obvious, but just as melodic and equally glorious once you get to know it. Another cracking AOR classic that is the precursor to yet another gem in If I Could. This, along with Responsible is the two tracks I picked out as brilliant from the first listen. The verse grabs your attention, but then the chorus blows you away. Another 2006 classic. At The End Of The Day is one of the band's best and smoothest ballads to date and another vocal jewel for the resume of Edman. Family Business matches the tempo of the opening number and ensures this album is just that little bit pacier than previous albums. Goran again soars on the great chorus. Just A Little Appetizer is extremely catchy, but creeps up on you it's one you'll be humming without knowing it hours later. The mid-tempo Westcoast pop of Something's Gotta Give is yet another smooth-as-a-baby's-bum track with yet another strong chorus. Slow ballad time again with Groundhog Day the chorus takes awhile to arrive but won't be forgotten when it does. Back to a quick fire tempo with the rocker Sniper, which as the title suggests will capture you in its sight and knock you out. Oh Maddy reminds me of Journey on their Raised On Radio smoothest and is one of my favourite album tracks. Fabulously smooth and eloquently delivered. Closing out the album is the feel good pop rocker Brother Sun And Sister Moon, with a uptempo beat and a warm feel.
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| Cloven Hoof Eye Of The Sun | Escape Music ESM133 |
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Perhaps one of the forgotten bands of the massively influential NWOBHM movement of the last 70s and early 80s, Cloven Hoof seemingly did everything right as far as writing good songs and getting out and touring, yet they would not be one of the lucky ones. The band never had a stable line-up and all that remains today is one original member bassist Lee Payne who has put together a new line-up for this new studio album. To be honest, I am not sure of the motivation behind this new record and I had no expectation at all going into it. Payne has joined with Phenomena creator and acclaimed producer Tom Galley to record the new album. Having no expectations can be a good thing, as the band does not have to live up to any preconceived notion. I must say that I was pleasantly surprised and have come to like this album a lot. Like no time has passed at all, the line-up assembled grasps the original concept of the Hoof's NWOBHM sound as if it was still 1983. Things have been updated a little of course, but essentially, this is a classic style British melodic metal record that I think will bring back some great memories for fans of the era and genre. New vocalist Matt Moreton has a voice in the higher register, but a decent growl also and definitely does the material here justice. After a couple of warm up tracks, I think the album falls into a very consistent groove from track 3 and for whatever reason, it think the sound quality also picks up here. The crunching hard rock of Eye Of The Zombie would do most metal bands proud. Highlights for me would be the more melodic and harmony backed Cyberworld; the classic British hard rock of Kiss Of Evil, which features a great lead vocal; the metal angst of Absolute Power and the power groove of King For A Day. The album is closed out in the same way it opened, ok but as strong as the middle leaving the best tracks running 3 through 7.
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| Surveillance Angelstation | Escape Music ESM132 |
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Although it took a few good listens, I like what is on offer here musically speaking. It has that straight forward British melodic hard rock feel, with some good songs and strong melodies to appreciate. I also like the lead vocals of Lee Small. He doesn't hide the fact the Glenn Hughes is a clear and obvious influence over his style, and at times I hear some classic Hughes featured both vocally and with the musical direction. The songs themselves have a lot to offer. Traditional British rock for the most part, but some nice twists and a few original passages of music. What I don't like is the production. This album sounds awfully hollow especially with the lead vocal compared to the rhythm section - and the mix is really quite harsh on the ears. The drum sound is lacking any major influence over the album and the guitars sound very muddy. These aspects take away from a lot of the possible enjoyment. In Motion is a solid and catchy rocker to kick-start the album, but the mix problem is evident right off the bat. Burning is a more intense and an even heavier rocker, with a little Iommi / Hughes influence. Reflections, Messiah and The Primitive Soul are three tracks which use a more commercial melodic rock style, but the sound also changes especially on Reflections - to a tinny, hollow style. Middleman returns to the more aggressive style of the opening tracks, as does the sound, only highlighting the difference in sound throughout the album. Truth and The Holy suffer from the production quality badly and cannot be appreciated fully because of this.
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| Cheap Trick Rockford | Big 3 |
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I know I'm a week or two late with this review, but as the album was only released officially the week before last, I think I can still get away with it. The one advantage of running a little late is the benefit of reading other opinions and hearing from readers about an album. While I'm not one to ever change my view based on what others think, it is nice to know that I am on the same wavelength as it appears I am with this release. From all reports to date, Cheap Trick has turned in their best album in years. Some are saying the very best since the late 70s, but as I am still a great fan of some of those gems from the 80s, so I'll agree to a point and name Rockford as the band's best album since the brilliant commercial rock of Lap Of Luxury. On the band's last couple of studio albums, an attempt has been made to cover all aspects of their diverse career, with an equally diverse set of songs featured. Perhaps the band was trying too hard to please everyone. The last album Special One was especially disappointing, with some weak songs played with little conviction. A lot more time was taken putting this album together and it seems the guys also placed far less pressure on themselves. When bands can afford to give themselves such creative room, I think the results always speak for themselves. That is very much the case here, as Rockford not only features the best set of songs from the band in a long long time, it also rocks more than they have in some time! The guys sound in vintage form and as melodic as ever, as power pop anthems dominate the album, filled with hooks galore. Rockford features all the essential Cheap Trick ingredients, starting with those needed driving rockers, such as Welcome To The World, Give It Away and the riff driven Come On Come On Come On. Melodic rock anthems appear in the form of Perfect Stranger and the very Lap Of Luxury-ish pop/rock of If It Takes A Lifetime and This Time You Got It. Of course, no Trick album would be complete without a tip of the hat to the ultimate power pop band The Beatles. The retro pop ballad O Claire fulfills that obligation as does the more uptempo pop rocker Dream The Night Away. The more laid back and reflective All Those Years is a pleasant tune that breaks the tempo up a little late in the album. Outside the box a little is the quirky as hell, but equally catchy rocker One More and the heavier groove of Decaf, which closes the album in style.
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| House Of Shakira Live At Firefest 2005 | Lion Music |
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Ah, me old favourites
.these guys won me over with their completely out of the box debut, which mixed the odd African tribal rhythms with Scandi melodic hard rock, all delivered in an over the top Journey styled AOR frenzy. Amazing mix and the guys have only got better with time. This is their first ever DVD, recorded at the 2005 Firefest show in the UK. It is also Lion Music's first foray into the new media format and credit to both this looks great. The band was fabulous on the day and ran through a set list of fan favourites and cuts from the current album First Class. The PA mix on the day left the guys a little perplexed, but all was captured on master tape for this release. Given the opportunity to alter the levels after the fact means that while this is 100% live, it now also sounds 100% brilliant. Whether the guys are rocking hard (Uncontrolled, Hey Lord), delivering massive anthems (In Yours Head, You Are, Method Of Madness, Morning Over Morocco) or playing it a little retro (Wings), they are always having fun and always delivering the tightest possible performance. You would expect nothing less from this now very experienced and well oiled melodic rock band. The vocals for this live show are also something to witness featuring both the band's original and current lead singers on stage for this special event, plus the fact the rest of the band all sing harmonies makes this all the more memorable and sweet on the ears. The DVD footage itself is just about all you could ask for. Multiple cameras, clear visuals and for the most part, good attention to detail featuring all the guys individually and collectively. There is some strong close up shots as well as a mix of pull back shots of the whole stage. The stage set up was pretty simple, but the performances certainly make up for that.
As for extras the DVD includes a nice 6 minute bio piece with brief interviews and all the videos of the band filmed when they were known as The Station (pre-HOS). Essential for fans.
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| Glenn Hughes Music For The Divine | Frontiers Records FRCD287 |
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Glenn Hughes works longer and harder on just about every solo release of the last few years, yet you can set your watch as to when they will appear on time and as regular as ever. Now that sounds like it is a dig at Glenn it sure isn't as true to Glenn's claim, each album of the last few years does sound better than the last and like a little more effort has been put in. It is just that being a prolific writer and also someone that knows his way around a studio, it doesn't take forever to get a new record done. Brilliant for eagerly waiting fans Since moving away from the more straight ahead hard rock that kick-started Glenn's major comeback with such albums as From Now On and Addiction, he has slowly evolved from recording albums with set musical themes and has moved into a style zone that instead balances his influences. The Way It Is, R.O.C.K. and Songs In The Key Of Rock saw Glenn finding his way, but it wasn't until Soul Mover that he nailed it. The perfect blend of soul, funk, R&B and rock was at last achieved. If Soul Mover was the album where Glenn perfected his own solo style - which started off back in the funk zone of Play Me Out in the 70s - then Music For The Divine is where he moves it further forward. This is an even better sequel to Soul Mover. This is a seriously good record, with an intense vibe and some of the best songs of Glenn's solo career to date. But it is far from an instant record. Glenn's records seldom are. There are a few standouts early in the piece, but 6 or 7 listens in and every track has its own place and its own groove. I think long time and true fans of Glenn Hughes will really dig this record. Anyone with a particular affection for Soul Mover will certainly find this a very worthy companion to that record. Perhaps not all that have loved certain past Glenn Hughes records will love this. I'll always class From Now On as my all time favourite Hughes record, but I am also realistic that he is unlikely to make a record like that again. Those looking for the hard rock or AOR Glenn should not expect to hear that here. On board with Glenn here is long time guitarist JJ Marsh and back again is the Red Hot Chilli Peppers duo of percussion master Chad Smith and guitarist John Frusciante. The Chad Smith/Glenn Hughes pairing is a masterful one, the guys compliment each other beautifully and the relationship the two formed on Soul Mover matures here. Speaking of the music within the album The Valiant Denial gets things off to a fairly restrained start. Rather it is the utterly brilliant Steppin On, with its snappy groove and in your face attitude really getting things rolling. What I love about the structure of this album is the tempo changes within the songs. Monkey Man, Black Light and the brilliant This Is How I Feel all do double-takes within, with chorus melodies well outside where the verse lead you to believe you were heading. Things turn psychedelic 70s on This House and reverts a further decade back from that on parts within Frail. The album grooves its way through several other tracks, all with their own merits. The only blip on the radar with this release is the cover of Nights In White Satin. On it's own it's another great cover by Glenn, but I'm not sure it fits within the scheme of this album. It is the only track recorded outside these sessions and sounds like it. Closing the album is the quite superb orchestral flavored The Divine, which sees Glenn at his most seductive vocal best.
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| Vertigo 2 | Frontiers Records FRCD290 |
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Joseph Williams returns to his Vertigo project for an encore performance, with the Fabrizio V.Zee Grossi production machine in tow. Former Toto vocalist Joseph Williams has a golden set of pipes and AOR fans welcome any release with open arms, as they don't come along too often. The debut Vertigo release was one of my favourite albums of 2003. Vertigo 2 is in many ways, a little brother to that of the debut. Most facets of the original have been reproduced here, which will be pleasing news to those that were looking forward to a follow-up; however it falls short on matching the brilliance of that first record. This is an album of very enjoyable classic AOR featuring a selection of hand picked songs that are designed to impact with the listener instantly. This is a chorus driven record every track has a punchy, instantly recognizable chorus and one song flows to the next in quick fashion. For that reason, I felt familiar with this album from the outset and I felt like I knew it well after just the second listen. I generally prefer albums to grow on me, but for those looking to get straight to the chorus, this album delivers in spades. Overall I have to say that it is another very welcomed release from Williams and certainly slots into his catalogue of albums very nicely. It is extremely catchy and the songs seems perfectly suited to his voice. The opening half of the record feels like a greatest hits record one great chorus after another In The Blink Of An Eye, All For You, Hold Me and Part Of Me are all similar in tempo and style and all feature a strong chorus. Hold Me being the stand out of these opening tracks the subtle chorus breaking into a great chorus makes it an instant winner. The slightly more laid back Holy, which appears mid-album, is perhaps my favourite of all Williams really owns this track. The big ballad of the album is Save It All For Me, which I believe will be a fan favourite from the record. At the same time as I sit back and enjoy the record for what it is, a few nagging doubts linger. Something isn't sitting quite right here. Perhaps it is the production - I began to grow tied of the V.Zee Grossi sound a year or so back. Too many releases in two short a time span and most of them sound very similar. That same issue is present here his take on how the overall album and in particular how the guitars sound is not something I love. On top of that - I think the production here is far less polished than the debut and in places it almost feels rushed. And the songs that comprise Vertigo 2 are all very similar. The pacing and the tempo at which the album flows is pretty slick and before you know it, you are mid-way through the album and then it's over. At 39 minutes, the album could have used another big ballad and another mid-tempo track to round it out. I love uptempo albums but a balance must be struck in order to give the record the best and most even flow. The last nagging doubt is the vocals of Mr. Williams. Perhaps it is the rushed nature of the record which I mentioned earlier, but he sounds a lot rougher than 3 years back and has a much raspier take on this record. At times I felt like he was shouting his way through some of the parts. I must comment about the lyrical or spiritual connection between the songs on this album. It seems Joseph has chosen songs with a stronger spiritual connection and several contain openly Christian references, none better or more obvious than the closing track There's A Reason. A truly fine track and once again, a track you can just tell Joseph believes in.
But it could have been a tighter ship with a few changes and doesn't quite match the brilliance of the debut.
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| John West Long Time...No Sing | Frontiers Records FRCD289 |
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The voice of Royal Hunt returns with his forth solo album and second for Frontiers. This album signals a definite and noticeable change of direction for the hard rock singer, both stylistically and also in the way West delivers his vocals. This record turned my head for all the wrong reasons to start with. I wasn't sure I liked it at all and it has taken a dozen spins to get a handle on it and slowly it is growing on me. But there is definitely some areas I'm still not sold on. Gone is the progressive melodic metal feel and gone is the powerhouse vocals that were responsible for making West one of my favourite metal singers. In its place is a more contemporary sounding record a more modern production style with an updated guitar sound and a simpler somewhat stripped back song structure, with almost no progressive elements present. While it can be said that this is a more melodic CD, it is not in the traditional sense of the word. Some of the songs are very melodic, but in a more restrained way. The choruses are not immediate at all and require a lot of listening to appreciate. West's voice is also rather different. It's far bluesier and has a more soulful edge, but in doing that, some of the edge has been removed and I find myself thinking I am listening to Richie Kotzen rather than the voice of Royal Hunt. I have very mixed feelings about this CD. While it isn't in a style that I prefer, you cannot deny that everything West does is done with class. The sound quality here is amazing - the production is slick and in your face and the musicianship within is the best it could possibly be. And it's almost unexplainable, but the record has a certain intensity that draws you in. Once you get to know the tracks, there are some definite highlights. Best of the album for me is the dark and heavy opening track Fade, the similarly dark Over My Head and the soulful Falling Down. The mid-tempo commercial rocker Set Me Free is good also, with Lonnie Park's keyboard parts really giving the song depth. Give Me A Sign is another twist, drawing on a 70s classic rock vibe. As the CD progresses the songs become more laid back and the choruses appear even less obvious, so you really must give this album time to develop. The star performer on this record is really the guitar playing rather than the vocals. I found myself on several occasions really getting into the musical base, before warming to the vocal style. At times there is a definite lack of John's big booming voice, but it is replaced here by a more laid back, soulful and almost alternative style vocal.
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| Pride Of Lions Live In Belgium | Frontiers Records FRCD281 |
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This is a simple review. Pride Of Lions fans are going to love this and need this live release both the CD and the DVD. The quality dictates that it must be an essential purchase. Those that have not yet fallen under the spell of Jim Peterik's post-Survivor AOR vehicle will probably not find what they are looking for in this release. Simple. Ok, I had better elaborate somewhat A little effort has been put in here, making it a really nice package for fans. With two albums and a couple of EPs to their name and a handful of special live appearances Pride Of Lions have been building a strong reputation for quality old-school AOR. On this release the guys behind the scenes get to shine as much as anybody else. Some of Chicago's finest make up the backbone of the band and on stage, despite limited preparation; they are as tight as a pair of undersized leather pants. Jim Peterik also shines, with the live environment allowing him a little more freedom with his guitar tricks. He really is an under-appreciated axe-slinger. As well as tackling the best tracks of the two studio albums to date, the guys also get to drag a few golden oldies out of the closet. Survivor classics The Search Is Over, I Can't Hold Back and Eye Of The Tiger are given a run and vocalist Toby Hitchcock gives them his best shot. He isn't Jimi Jamison, but then again, few if any could be. Of the POL tracks, the opening track It's Criminal really rocks, with an extended guitar solo going well into the close of the track. Sound Of Home is a bonafide AOR classic as is The Courage To Love Somebody and they shine here. As do the aforementioned Survivor classics the 8 minute Eye Of The Tiger especially glorious. I also love The Gift Of Song by the close of the show Toby has really loosened up and the superb album track really goes over well live despite the inclusion of the necessary pre-taped orchestral parts. Complaint time fading of the crowd noise between tracks on live albums just bugs the absolute crap out of me. This is a live album, not a studio greatest hits and doing this really kills the momentum of what is supposed to be a free flowing experience. There is already 2 discs in play here extended out the gig and break it off into the second CD. Don't cut the crowd next time please. The second disc is one for the real fans. Comprised of bonus and unreleased studio cuts, it features: The gritty Reckless Love was originally released as Japanese bonus track from The Destiny Stone; the ok ballad Stand By You comes from the Sound of Home EP; as does the groovy So Deadly. The subtle, but powerful ballad Surrender To The Night comes from the Japanese bonus track to Pride of Lions and the rocker Dark Angel was previously unreleased, besides being offered as a download on this site a while back. The heartfelt ballad Black Ribbons (Voices Of The World) is dedicated to the lives lost in the Spanish terrorist attack is from the EP released especially for the occasion. Closing out the bonus disc is a favourite of mine, Feels Like Another Planet a sparse track which features a powerful vocal. On the DVD Toby's stiffness is more evident. He is still growing as a singer and a performer and you can see him loosen up during the show to the point where I think he's actually enjoying himself and not thinking so much about what he is doing especially towards the end. The audio and video quality is unquestionable and is possibly the best live DVD from Frontiers to date. A great picture, lots of angles and a spotlight on all on stage makes it a very enjoyable watch. All in all, the DVD is a better example of the live show as there are no breaks and you get the full concert experience.
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| Cloudscape Crimson Skies | Metal Heaven 00020 |
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For a metal outfit, Sweden's Cloudscape are pretty slick. There is barely a note out of place on this album, their second following last year's strong debut.
To my ears the guys have improved on just about all aspects of their debut. Production is first rate, the performances all but flawless and the songwriting appears more proficient. More hooks, melodies and a lot more layers of instrumentation from swirling keyboards to big drum fills and guitar solos galore. The band's sound reminds me a little of a more aggressive Mind's Eye another Swedish progressive melodic metal outfit and also a little Allen/Lande in there also. Highlights from the record include Shadowland which features a great lead vocal and a strong chorus hook, not to mention a dramatic setting. It is one of the more commercial numbers, surrounded by the darker and heavier numbers such as And Then The Rain and Shapeshifter. The frantic rhythm of Psychic Imbalance still allows room for a good melody and Someone Else is another strong track mixing progressive and hard rock elements.
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| Gotthard Made In Switzerland | Nuclear Blast |
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Everyone's current favourite Gotthard follow up their fabulous last studio album with a live recording from the ensuing tour. The Swiss rockers really got themselves back in the game with their last album and other bands would do well to look at the formula used to make it happen. They delivered an album of great songs in a style that fans wanted to hear and bugger me, it actually sold a stack! What a concept Anyway, live in their homeland of Switzerland, this album sees the guys run through 17 tracks the best of their back catalogue and all the current favourites from Lipservice. All We Are, Dream On and Lift U Up all sound larger than life in concert and still sound fresh and exciting. Past classics like Hush (the Deep Purple cover), Heaven, Anytime Anywhere, One Life One Soul and Top Of The World crunch through the speakers, sounding as good as ever despite line-up changes within the band.
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| Mother's Finest Live At The Villa Berg | MTM Music 0681-162 |
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Mother's Finest are a band rarely mentioned on this site. It's not that they aren't musically worthy they just haven't been on my personal radar and they haven't been making records. The funk hard rockers return with this live album that also includes 4 new studio cuts. These are the band's first new tracks since 1998 and see them retain the same groove as what made them famous. With a dual female and male lead vocal attack, the 4 new tracks feature 2 rockers and 2 soulful ballads, one of each for the two vocalists. A ground breaking band in their day, the band's roots hark back to the 70s and that influence continues to shine through. They were rocking out and breaking ground long before Red Hot Chilli Peppers even formed. The live recording sounds fine nice and even in the mix and very clear in sound quality. At 17 odd tracks, it also covers the band's best material and is definitely something established fans will and should want to get. For those unfamiliar with the band better check the soundbytes first.
But, regardless of label, Mothers Finest fans should investigate this with haste.
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| Bonfire Double X | LZ Records 02667800040 |
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Bonfire's last studio album was so bad it nearly put them out of business. It put them in a position where nothing less than an absolute classic was required to get them back to the top of the heap. Double X is not that album, but it at least gets the band somewhat back on track. The guys return to the same hard rocking sound used prior to the horrible Free album. The only problem is that it does not address the very same issue the band's fans have had for a decade now a desire for the guys to return to their very best the sounds of such classics as Fireworks and Point Blank. Double X will please long time fans that stayed patient, as it returns to the band's straight ahead European hard rock sound and is more or less, a melodic friendly record. The album itself sounds great sonically much better than Free. The guys produced it themselves and their individual performances are of a high standard as one would expect. The songs themselves still need some work. I still don't hear enough big hooks and there are no real rocking anthems or high flying harmony vocals as there were on the band's earliest albums. When they rock the just rock such as on Day 9-11, But We Still Rock, Right Things Right and Bet Your Bottom Dollar. I could use some bigger choruses here and the guitars are more or less riffing without much flair not too many theatrics in play here. On this album the guys actually sound their best when they slow it down a little. The mid-tempo and acoustic driven Cry For Help has a great chorus; What's On Your Mind is a great little pop/rock anthem and Notion Of Love brings back memories of the band's best years. The big ballad of the album Blink Of An Eye is included twice a little unnecessary. The 6 minute regular version is "enhanced" by a nearly 8 minute extended version that closes the album. Once would have been enough fellas! And a special mention for Rap Is Crap. Yes I agree completely with the lyrical sentiment of the track, but it's pretty average at best and didn't they have a little rap influence on one track from the last album?
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| Phil Soussan Vibrate | Puss in Blue Records 49768-2 |
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Phil Soussan is a session great and also the former bassist for Beggars & Thieves, John Waite, Vince Neil and Ozzy Osbourne to name just a few. This is his first solo record and is a very diverse and eclectic collection of songs that will appeal to those that look for something different and appreciate the singer/songwriter approach to melodic pop/rock. Highlights for me include Open Your Eyes, a glorious melodic number with a great hook; Friend By My Side is funkier and in Richie Kotzen friendly territory; In America is more laid back and subtle and reminds me of The Rembrandts; Smile features a more upfront electric guitar sound and a strong lead vocal and the Celtic ballad She Couldn't Cry. In the same way Richie Kotzen's solo records sound completely different to that of his work with the likes of Mr. Big, so to does Phil's solo record in relation to his past work. It has a similar vibe to that of Kotzen a player who knows a lot more than he is normally required to perform and lets loose now he has the chance. Guests include Toto's Steve Lukather, Simon Philips, Steve Porcaro and David Paich along with Richie Kotzen, Gregg & Bud Bissonnette and more.
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| Def Leppard Yeah! | Universal |
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Ok, so you see the score. Now just why is it so? I think this is the strangest scenario for writing a review that I have encountered in my 10 years running this site. It all began when I gave what was perceived as an unfavorable preview of the album from a leaked unmastered copy some 18 months back. The comments themselves were not that bad. Sure, a few tracks descriptions were, but overall the sentiment I expressed was that of disappointment in the whole covers album concept and to this day don't believe it does Def Leppard any favors. My comments were taken personally by none other than band frontman Joe Elliott who unloaded on me publicly and has continued to do so on several occasions since then. The latest swipe came only this week this from a band that actually holds position #1 on my all time favourite albums list. Yes, Hysteria is my favourite record of some 5000 CDs on my shelves. So, here is a band that I love; using a concept for an album that I generally loathe; with a frontman who is openly attacking me whenever prompted; and with fans and readers taking sides, ready to pounce to add their 2c worth once this review is posted. Joe says I am not a real journalist. I'll take his comments on the chin, but the reality is that I was actually one of the very few outlets that supported the X album and gave it a rave review. I went against the grain with that and to this day believe it was a criminally under-promoted record and could have done much bigger business had it been given the chance. Had I given more positive comments in my 2005 preview of this album, the whole debate that ensued would be moot. But I didn't and since then this saga has taken on a life of its own, fuelled by Joe's taunts and my amusement in passing on those comments to readers. And here we are at last Lets be blunt - I am expected to hate this album. I am expected to react to Joe's silly taunts and dig the knife in now it is turn for me to have my say with this "official review". But you know what, I don't hate this album and I still love the band. Maybe not the singer so much, but the band, sure. I don't hate the album, but still hate the concept. I stand by all of my original comments that I think this is a waste of the band's time and merely a stop gap measure between studio albums. If this album was churned out in quick time 12 months after the last album X, then I would be far more understanding. I was slated by Joe for reviewing a half finished album. Not true. The retail version in fans hands today is no different than what I first heard, although now the album has been properly mastered, giving it a much brighter and engaging sound, but I never criticized that aspect of the recording. The final released product doesn't disguise some very laid back performances and a distinct lack of Leppard-isms within the recording itself. When it comes down to how the band wanted to do this, the guys are placed in a 'damned if they do, damned if they don't' situation. Stay true to the originals and you are just copying, but venture too far away and you are being disrespectful. It's a hard call, so I say why not avoid those issues in the first place and concentrate on new material? This album is a very 'true to the original' type of tribute release. The songs are faithful reproductions of how the original tunes sounded. And I must say, being familiar with most of the songs covered here, the band has captured the spirit of these original songs rather well. How much any given fan is going to enjoy the actual songs is another matter. I expect many long time fans will enjoy it as something different from the band but how many will still be playing it 3 months down the track? I have purchased my copy of the album, but once this review is finally completed, I don't expect to play it again. Ever! Having said that, I'm still playing X after 4 years and I'm still playing Hysteria after 19 years! Track By Track: Opening the album is 20th Century Boy (T-Rex). Uptempo yes, but still fairly restrained. I think a reasonable choice to open the album. It sets up the pace and the feel of the overall album. Rock On (David Essex) has been chosen as the new lead track, most probably as it is one of the most recognizable songs to American fans. And let's be honest here America is where the band sees its fortune these days. The better chart result there first week in and the great response to the band's upcoming tour there shows where the money is to be made. The track itself is an updated, but faithful rendition which suits Elliott's softer vocal approach used on this album. Unfortunately I think it is one of the more forgettable tracks of the album having heard it covered plenty enough before already. I do like the lead guitar break mid-track though. Hanging On The Telephone (Blondie) is one of my favourite tracks of the album and one of the few instances where I think the band have improved upon the original. This version is more polished and the chorus harmonies suit that of the band. Same goes for the lead guitar. A catchy song made even more enjoyable. I have already praised Waterloo Sunset as a great track to cover, how could anyone go wrong with The Kinks? The tone and the delivery is near perfect and I think this is probably my favourite track on the album and perhaps the only one I would pick out to include on a self-constructed Def Leppard compilation. The most 'Leppard' of all the tracks covered. Hell Raiser (Sweet) is a good change in tempo. The album needed a rocker at this point and that's what you get. I'm not a big fan of this glammy track though. It's just a little well, I can't take it seriously and the added vocals from The Darkness' Justin Hawkins just compounds that problem. 10538 Overture (ELO) is a track that I don't think goes anywhere. Def Leppard are famous for their hooks and this track just doesn't have one. Curious song to include and not one I enjoyed then or now. Street Life (Roxy Music) is more in keeping with the band's sound and this track rattles along at a fair pace. Still no major chorus hook and another track I'm not sold on. Drive-in Saturday (David Bowie) sees the album in a bit of a hook-free run. The song returns to the laid back vibe. I like Joe Elliott's lead vocal here. I'm not a fan of the original track or this version still, but I do like the tone of Joe's vocal and his performance here. You can tell that he believes in the song. Some nice instrumentation, but the song just doesn't have that flair expected from Def Leppard songs. Little Bit Of Love (Free) is a good choice for the album and a chance for the band to include a good commercial rock track that most will be familiar with. No album paying tribute to the best of British classic rock would be complete without a track by Mott The Hoople. The Golden Age Of Rock`n` Roll is Leppard's choice here and I can't argue with that. It is a bit of a throw-away rocker, but it's all in good fun. I'll stick with my original comments about No Matter What (Badfinger) - a pleasant mid-tempo pop song and similar in vibe to Waterloo Sunset. Ok, but not essential. And my feelings are identical regarding He`s Gonna Step On You Again (John Kongos). This is a tired old rocker that I could live without. I believe I called it dreadful back when I first heard it and my feelings haven't changed. Doesn't suit the band at all and I could easily go on without ever hearing the song (in any form) again. Don't Believe A Word (Thin Lizzy), is far better. Better suited for the band, better suited for the album and a classic song that couldn't be done badly. It also suits Joe and the band and is another of my favourites from the album. Still love the Andy Taylor version the best though. Stay With Me (The Faces) is a great fun rocker and Phil adds his deftly tuned best Rod Stewart vocal impersonation here. A good fun track and a good way to close the album, but I have another issue with this track. It has appeared elsewhere before and I believe most die-hards fans would already have it. With several other tracks available for inclusion, why not relegate this to bonus track status? I won't comment on the various bonus tracks available in various formats here as quite frankly, they are not part of the album for the vast majority of those purchasing this.
Without being flippant, I think the album is fairly enjoyable in the now, but largely forgettable in the long term. And the most disappointing aspect is that it will probably be another 2 years until we finally get that proper new studio album we all long for. I reviewed this album without any prior reference to my original comments some 18 months back. I found those again after I finished this review and re-read them. What I found really surprising is that most of the comments both good and bad mirror those I typed out originally. I still love the same tracks as then and I still really dislike some of the others. Joe may have lambasted me for reviewing a 'half finished album', but my views then are almost identical to the retail version available now. Proof that this album was a flawed concept from the start. I am just not a fan of covers albums not when new material would be much preferred. Case in point - two of my favourite artists ever - Rick Springfield and Toto. I didn't rate their covers albums highly either. For long time Leppard fans there is already the numerous covers used as B-Sides and Joe's own Cybernauts release (which I reviewed here). The upside of all this? The band is now free from their US record contract and can plot a new course from here. Despite the ongoing rhetoric I believe I have put my opinions forward in a respectful and fair manner. I expect many might disagree with what I have said, but let's just see... And that's it for this Tasmanian review...
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| Queensryche Operation Mindcrime 2 | Rhino Records |
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Review on this occasion by Mick Ward. Typically full of twists and turns, the plot line for Operation Mindcrime II is rich intricate and involved. Whether you love or despise this incarnation of Queensryche is beside the point, for what the band has delivered here is quite the effort, dressing this sequel up in what resembles the sounds of an 80's era Queensryche while continuing to evolve and not duplicate themselves. A daunting task and first impressions would have the listener convinced that the band have succeeded in remaining faithful to the original in both story arc and its delivery. Yet while the plot should enthrall, the music and song delivery require closer examination. Too often the melody lines which Geoff Tate sings veer on the side of pop, reminiscent of those on his Geoff Tate solo album and distance themselves from the obvious attempt by the musicians to put some metal back in the band. Also, on too many occasions a strong opening riff gives way to a softer song or, for want of a better word a ballad. Regardless of the story lines' requirement for these moments of fluff, MCII is flawed by the inclusion of too many of these softer moments. MCII is less metal and more hard rock with a creative edge. However, having said that, the venture into new territory is occasionally quite extraordinary. The unfamiliar style of Re-Arrange You is absolutely wonderful, its exceptional chorus and driving verses leave you wanting more. Fear City Slide reeks of Empire era Queensryche and, aside from its rather unusual, bordering on awful pop sing-a-long chorus, the song is quite the number. The idea of sharing vocals with Ronnie James Dio on The Chase, in theory is brilliant, but the reality should have challenged its performers so much more, the song lacks in dynamic and by no means does it showcase either vocalist's true ability. Good but could have been so much more! When seeking the reason behind such a subdued performance, consideration needs to be given on how this album came about - allegedly Tate made use of storyboards to structure the story preparing it for a more theatrical presentation. So perhaps here lies the problem. Whereas the first Mindcrime captured you with its sensational songs and musicianship whilst at the same time working cohesively with an intricate and compelling story, MCII puts the story first and has instead been drafted from concept to song, thus resulting in a more crowded and at times forced atmosphere, the story getting caught up in its very own theatrics and leaving less room for the music to breathe. Thankfully many of the tunes push through this small barrier, tracks such as the dark and brooding Hostage and the catchy and sharp delivery of The Hands send the listener on a definite trip down metallic memory lane proudly giving a wink to anything from the Rage for Order to the Promised Land eras. Put simply both tunes are brilliant! The slightly fumbled yet kick ass I'm American launches the album out of the starter gates and while it reeks of a deliberate attempt at capturing the spirit of the first Mindcrime, it is a galloping rocker in its own right. Rejoice! One also cannot ignore the intensity and uniqueness of Murderer, perhaps too obscure for the casual listener; Murderer borders on chaotic but its driving bass and progressive style make for one of the strongest moments in Queensryche history. Thankfully there are plenty of guitar solos and some shared, although unlike the songs from which they come, the solos fail to ingrain themselves in your head daring you to duplicate them on your own six string like those of years gone by, which leaves the album a tad unfulfilling in this regard, but they do complete the songs and its damn pleasing to hear 'em none the less. Unfortunately, being the prime architect for the album, Tate will likely take the brunt of any negativity that comes their way but on a positive note his performance is flawless. Regardless of less range, he relishes the emotions of MCII and hasn't sounded this dark, angry or convincing on a release since the release of Promised Land. Executed to perfection with a fat production that dabbles in yesteryear while staying very in the now and giving MCII the dramatic effect it requires, the band have indeed thrown down a worthy album. If it's the Mindcrime tag that has caused this sudden darker and much better Queensryche to appear or re-appear, whichever way you see it, then for that we should be thankful. With the changes the band has had to endure, newcomers Mike Stone sharing guitar duties with Michael Wilton and Jason Slater taking on production values finally sees the band settling into a sound and style which most fans should embrace.
Masterpiece? Dramatic swansong or a rebirth of sorts? Time will tell.
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| House Of Mirrors Desolation | Escape Music ESM131 |
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House of Mirrors are a Finnish melodic hard rock/ metal band that have been around for over a decade now, but only broke through with their 2004 debut. 2 years later the follow up is upon us and while it is an enjoyable and sometimes impressive release, it seems the lessons of the debut haven't been learnt and the end result is an album that doesn't quite match its predecessor. The band's main problem is diversity. As with the debut, the guys don't quite know what direction to take, resulting in an album that covers straight ahead hard rock, melodic metal, pomp and even AOR. There are actually some very likable tracks included here and the guys can certainly write and play without any question. But when the styles jump around so much, it doesn't give the listener any time to settle in. The album's first three tracks are all hard rocking European melodic metal, with the opening track Desolation the highlight there. Then there is the about face on Where Are You Now, a glorious pomp/AOR ballad with hints of Boston and Journey present. Waiting In The Wings then sounds like Europe in their commercial 80s heyday, before On The Red Line returns the band to a heavier footing. Gone With The Summer sees another about face this is an acoustic driven ballad with a touch of flamenco guitar! A trio of mid-tempo commercial hard rockers follows with a big power ballad in Heart To Heart closing the album.
Still, I have heard a lot worse and accepting the changing styles, enjoyed this album for what it offers. There is still room for the band to improve and deliver a great album though.
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| Empire The Raven Ride | Metal Heaven 00019 |
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Empire haven't previously set my world on fire and perhaps don't quite do that once again here. But this is definitely their best release to date and I think their most consistent also. The band's 3rd release sees them hit their straps, with their most memorable material on hand and on this occasion truly working as a band unit and not just another all-star project. Vocalist Tony Martin sounds in top form, with some authorative and at times menacing lead vocals a performance that I think I prefer over his recent solo album. Rolf Monkes has a nice guitar tone featured on this record tough and heavy without being too dominant or relying on down-tuning to portray angst. 10 tracks and 40 minutes of intense European hard rock is on offer here, kicking off with the Martin era Sabbath-like drama of The Raven Ride, flowing into the slightly less intense Breathe. Satanic Curses is the next track to gain my attention a slow, dark and moody metal track fans of Martin will love. There are a few fillers featured, but the hard rock ballad What Would I Do? is a quality song and nice mid-album tempo changer. The more commercial Changing World follows on nicely and the rather bizarre chorus vocal of Maximum makes that quite an interesting track. The uptempo I Can't Trust Myself is about as commercial as Martin or Empire has come and will appeal to hard rock fans across the board.
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| Winterstrain Return To The Mirror | Z Records 04970115 |
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Winterstrain are a Norwegian hard rock outfit who count British singer Tony Mills among their biggest fans. Tony has helped the guys out with backing vocals and additional harmony vocals. His involvement however, should not draw you to compare these guys to Shy, although the backing vocals are at times quite rich and in that higher range. The guys are most definitely a hard rock / progressive outfit, although the lead vocals are very melodic and most enjoyable. I think the guitar tone is a little out of balance with the rest of the album, it sounds a little hollow in several places, but guitarist Arnulf Ovre does offer some of the best riffing this side of Yngwie Malmsteen. This is another band that delivers a very diverse album. There's a little prog-metal (The Family Secret, Rumours At Speak), there is some dramatic hard rock (Another Time, Another Day In Your World) and at times some lush orchestral style moments (Leon, Broken Defence). Then there is the epic closing number Sail which mixes all of the above into one.
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| House Of Lords World Upside Down | Frontiers Records FRCD283 |
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So there is a little controversy to this album. I think once any House Of Lords fan gets through the album for the first time, any doubts will be erased. House Of Lords caused a stir with their last studio album The Power & The Myth, perhaps for the wrong reasons though. The record found its fans, but a good portion on the traditional HOL fanbase were unhappy with the change in style and direction taken by the band. It wasn't just the style - it was also the time taken in getting the record done and singer James Christian also came under fire for his vocal performance. World Upside Down is some quirky way is an apt title for this new album. Since the last record, everything in the HOL camp has been turned upside down. In comes a new line-up...the record was written and recorded in quick time...and stylistically the band reverts back to everything that made the HOL name great. One could argue that the new line-up isn't truly House Of Lords, but there will be just as many, if not more, that will argue that the last album with the original line-up didn't sound anything like what was expected of the band. World Upside Down however is totally House Of Lords in sound and direction. James Christian steers the band through rocky waters into a glorious bay of harmonies, wailing guitars, huge choruses and a big fat production sound that sees this album stand proudly between the self-titled debut and Demon's Down. This is a bloody fine melodic rock record and everyone involved deserves a little credit. This is a very energetic record and literally jumps from the speakers. James Christian sounds amazing as good as I can remember and certainly the best since Demons Down. New guitarist Jimi Bell plays all over this record - riffs galore, but some great solos and blazing overdubs too. Jeff Kent and BJ Zampa supply a hearty rhythm section and Jeff double-dips with some traditional House Of Lords keyboard parts. Original keys man and band founder Gregg Giuffria returns in a cameo role, with several keyboard passages included, but his influence over the record is easy to pick. His advice to the guys on production and keyboard sounds means this record retains the feel of the original band. Track By Track: A nice typically overblown intro in the form of Mask Of Eternity opens the album, signaling the band's intentions with this record - blazing guitars and an epic production. These Are The Times is a strong opening track and a typical HOL styled uptempo melodic rocker. A strong chorus is amplified by some big vocals and a hearty guitar riff. Welcome back guys! All The Way To Heaven is another trademark HOL track, but this time relying on the band's knack of serving up a rock anthem wrapped up in a moody, angst filled delivery. Some big backing vocals, a very melodic chorus and a quirky lyrical theme familiar to the band add to the track. Field Of Shattered Dreams is a huge power rock ballad with a chorus that seems to go on forever and features some amazing harmony vocals. Lyrically it is a message for all those serving their country overseas during this time of conflict. I'm Free is probably the most contemporary song on offer. It is a heavier and darker rocker with an aggressive edge in the vocals and lead guitar. Less emphasis on the chorus here, which helps vary the record. All The Pieces Falling is an acoustic driven ballad and a more traditional sounding track. A heartfelt ballad that builds in tempo, while adding more and more soaring vocals. Rock Bottom steers the album back into uptempo hard rock territory, with a big groove and a big attitude. A bit of a throw-away rocker, but good fun nevertheless. The guitar riff reminds me of that true HOL sound. Million Miles is just brilliant. This is everything I love about James Christian and House Of Lords uptempo and over the top. A cool guitar riff is thrown in and the song is extremely melodic during the verse and a big melodic anthem chorus. Love it. Your Eyes continues the melodic bliss. This starts slow and remains mid-tempo and is a ballad of sorts, but a rock ballad with another big harmony filled chorus. A nice guitar solo just adds to the enjoyment. Ghost Of Time makes the album even better again. Some moody keyboard parts and a smooth guitar riff start the song off before it turns uptempo, very melodic and very passionate. This rocker has a superb chorus and follows on perfectly from Million Miles - the two songs remind me of the closing tracks on the band's killer debut - where every song was more melodic than the last and you couldn't believe one killer track just followed the other. My Generation turns up the heat again with a grittier, dirtier rock sound along the same lines as I'm Free, but with a bigger and better chorus and lots of drum rhythms. It makes for a nice circuit breaker between anthems, but not a personal favourite. S.O.S is that other anthem which adds to the gloriousness of Million Miles and Ghost Of Time. Incredibly commercial and utterly brilliant through the verse, the chorus and the big finale. World Upside Down closes the album brilliantly on a somewhat reflective note. This track is a mid-tempo ballad with a little orchestral padding which lifts the melody beautifully.
Something lacking from Power & The Myth was big choruses and big vocals. This album has both. The backing vocals on this record in particular are immense, with James, wife Robin Beck and guest Terry Brock all supplying some huge vocals. This record is the very definition of melodic hard rock and for me blows the last album and even James' 2 solo records out of the water. Easily my second favourite album of the year thus far and I'm guessing the best of the year in many other fans eyes.
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| Goo Goo Dolls Let Love In | Warner Bros. |
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My first Goo Goo Dolls record was A Boy Named Goo. A later-comer to the band yes, but that album made an immediate impact and remains my favourite from the band and one of my all time favourite modern rock albums. Subsequent releases have been a little weaker each time, but remained enjoyable. Dizzy Up The Girl was solid, but didn't quite have the raw power of Goo. Gutterfower got off to a flyer, but fell away towards the end. With each record the band has mellowed a little, but with Let Love In, the move is more pronounced. The bands' success with mid and slow tempo songs has obviously influenced their thinking, with this a far more mature and mellow record. I love a mellow record as much, if not more, than the average melodic rock fan - fabulous for certain moods and emotions. But when it comes to the Goo Goo Dolls, I want an album full of their classic rocking sound. I want high-powered angst I want a wall of melodic guitars and I want passion and urgency in the delivery of their anthems for the misunderstood. Not on this record. With the exception of perhaps the opening track, Let Love In sees a band that has grown older and become all to comfortable. I know this record is going to have a lot of fans and I don't mind going against what may prove to be the majority we shall see. But for me, the band has lost the intensity that drove albums like A Boy Named Goo and Superstar Carwash. The band doesn't abandon their trademark sound, it has merely been tempered and acoustic guitars now share equal billing with the plugged in variety. If you like the band in a mellower setting and have a preference for their ballads, this very slick record is going to appeal. The vocals of Johhny Rzeznik are certainly some of the more likeable and melodic of ay modern rock band. But, if like me, you prefer them in a heavier setting, prepare to be disappointed. Track By Track: The new single Stay With You is an easy pick for an opener and the track to promote the album. It opens with all the passion, fanfare and fire you would expect of the band. This track is the closest to the band's most classic sound which really came to be on A Boy Named Goo. A fantastic, guitar fuelled wall of melody with a killer chorus, this is destined to become another classic for the band. The title track Let Love In has an interesting intro. A different approach for the band, with lots of production effects lying underneath a soft vocal before the song bursts to life with a very commercial melodic chorus. It's hard not to like the track, but it does suggest that the band are no longer an angst filled modern rock outfit, but rather a more comfortable 'happy' band! Feel The Silence mellows even further. We are on a slowing path here and this mid-tempo pop rocker has a feel good chorus, and replaces angst with a more mature sentimental emotion. Better Days is the song we all know from late last year. This very commercial modern rock ballad has a great chorus of course, but I was never fully sold on this track then and haven't changed my mind. About this stage I'm dying for a rocker. We is the GGD of old? Each track on the album has been mellower than the last and this climaxes with the ultra slow acoustic driven ballad Without You Here. I'm not a fan of this track at all. The album has slowed to a crawl after an initially promising start. Listen sounds every bit a classic GGD rocker and could easily fit on any of the last 3 albums. Finally a great rock track, however, it does get knocked back a notch as bassist Robby is on lead vocals here. Thankfully it at least matches his input from the Boy Named Goo album and is his best vocal track of the last couple of albums. Give A Little Bit is another track we have all heard already. The song was the one new studio track from the 2005 live album release and should not have been included on this album. We all own it already move on Can't Let It Go is yet another acoustic driven mid-tempo pop rocker. It is an ok song, but again I'm searching for a killer rocker in amongst all the mid-tempo tracks. We'll Be Here (When You're Gone) is a moody, modern rock track. It could have been darker and heavier still, but gathers a little fire towards the end. Strange Love features Robby again. He is back to his average raspy vocals and this doesn't impress as much as his first track. Become is yet another slow ballad and one without any redeeming virtues. I find it too plain and boring and is a repeat of what's already on offer elsewhere within the album.
Nice for an unobtrusive, safe, commercial modern rock record, but is that really what the Goo Goo Dolls are all about? My hope for this genre now falls back to Mitch Allen for his solo debut. Please let it rock!
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| Newman Heaven Knows | Escape Music ESM130 |
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Englishman Steve Newman returns in quick time for album number 5. I have always enjoyed Newman's albums and without doubt each one has been that little bit better than the one before. The last album Sign Of The Modern Times was his best to date and left him with a lot of work to do to match or surpass it. Steve made a slight change of tact for this album. Everything except for the thumping drum beats are from Steve. A truly hands on effort this, with keyboards, guitars, bass and vocals all coming from the man himself. I'm not sure who mixed this album; whether it was Steve or someone else, but whoever is responsible did a cracking job at ensuring all the instruments get equal room to breathe and be heard clearly. The sound is classic melodic rock with that 80s influence snapping at its heals, but is in no way dated or routine. I'm pleased to say that Newman has eclipsed himself again and Heaven Knows is easily his best album to date. The stars of this record the songs themselves. These are the best set of songs to make a Newman record yet and are the most instant also. Normally I require a little time to grow into Steve's records, but on this occasion I only needed a second spin to be sold on the contents. Track By Track: Heaven Knows is a cracking uptempo melodic rocker to get things underway, with a smooth chorus giving way to a lush chorus mixing keyboards with guitars and harmony vocals. Higher is a little more subtle, yet features a harder edge guitar riff and the chorus comes in two parts and is classic Newman. Aint Gonna Cry Forever is possibly the best Newman song ever! What a killer chorus! I just love it to death and think it is an example of the very best classic British AOR can offer. Move On is a little heavier and has a certain groove. It changes the pace of the album to date but still features another great chorus. The mid-tempo ballad The Way You Love Me is another great example of how simple and familiar melodic rock can still be so effective when done with passion and quality. Following the mid-tempo ballad is this slower power ballad. Learning To Live again features a monster chorus and again is one of Steve's best ballads. The Circle picks the tempo up again to how the album opened. And yet again - another strong chorus. This Time has a big groove to it and some nice guitar parts. Not as strong a chorus here, but not close to being a filler either. Wait takes a few listens to get to know and works well at this point of the album. Never Meant To Fall In Love is a uptempo melodic rocker with a groovy verse and a straight AOR chorus. Sport Of Kings is a heavier and darker track that shows another side of Newman. A good chorus gets better with each listen. On Any Other Sunday is a tribute to the victims of the 2005 Tsunami. This acoustic ballad closes the album on a strong, yet sentimental note.
What it is though, is a very fine example of classic style, 80s influenced British melodic rock and in my opinion, Steve Newman's best and most consistent effort yet!
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| Jeff Scott Soto Essential Ballads | Frontiers Records FRCD286 |
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Well of course they are essential! Everything Soto is essential these days in my book and I expect Jeff's fans will line up accordingly for this release. The thing that I truly love about Jeff's music and his vocals is his passion. Whether he's rocking or crooning, there is an unmistakable passion involved that really helps the listener connect to him. You can really hear Jeff connect with the lyrics and with the song nothing is just simply sung. In the case of this album it's Jeff the crooner in action. Gathering 13 of his finest ballads and 3 unreleased gems from the famous Slam sessions, the album is definitely one for established fans, but possibly also for those that remain curious about Jeff's work and are looking for a place to start. Some of Jeff's work can get pretty diverse, so this fairly straightforward collection of slow and mid-tempo melodic-friendly ballads is a brilliant intro to one side of this performer. Tracks here are garnered from Jeff's 3 solo albums and some EP cuts. Despite being a 16 track collection of ballads, the tempo is not limited to slow. You have brilliant traditional power ballads in the form of If This Is The End, Don't Wanna Say Goodbye and Till The End Of Time; the famous cover of Journey's Send Her My Love; to smooth sultry numbers like This Ain't The Love, Still Be Lovin' You and then there is the more diverse side of Jeff, as displayed on the soulful funk of 4U and the glorious acapella styled Sacred Eyes and By Your Side two tracks I rate as some of Jeff's very finest vocal work. As for the new tracks Through It All is an acoustic driven pop ballad; Last Mistake is a gem, a very commercial uptempo pop/rocker with a fabulous vocal and chorus and Another Try follows that perfectly, delivering another fine catchy pop song.
The addition of a few unreleased tracks one of which is a real gem and some EP cuts makes this a nicely crafted compilation and good all-round value. Did you expect me to say anything less?!
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| Fate V | MTM Music 0681-160 |
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Danish rockers Fate have varied their line-up over the years and their comeback album V features vocalist Per Johansson who was on board for the band's previous release Scratch N Sniff (recently re-issued by MTM). The band has again hooked up with old producer Tommy Hansen, who has gone on to considerable production fame. He ensures this album sounds a million bucks. The sound is big, the guitar sound is right in your face and the mix is near perfect. The record has all the ingredients of a classic Fate record and an overall world-class production quality. However, to create a classic you need 2 more ingredients - great songs and a great lead vocal. This is where things get a little more complicated and where this album might cause some debate among fans. Firstly the songs. I can't complain about this too much. I like what I hear and in keeping with the big production sound, the songs match in rock attitude. There are some big riffs on offer and some strong melodies and choruses. The opening rocker Butterfly is about as big as they come and the more restrained Everything About You is catchy from the outset. Burned Child delivers another strong melody in two parts and I'll Get By is classic Fate in its melodic approach. The slower rock ballad Life offers another side of the band and delivers another huge vocal in the chorus, while Memories Won't Die is a strong uptempo rocker. What I have avoided mentioning thus far is the album's main negative and no doubt, its biggest talking point. The vocals of Per Johansson are something fans are either going to accept or reject. His voice has certainly changed since his last appearance with the band. One could suggest that the years have not been kind to Per, but whatever the circumstance, his voice here is a lot rawer and raspier. He screams his way through a good portion of the album and that's going to turn some people off. What shouldn't be an issue now requires a warning you will have accept and appreciate these harsh/raspy vocals in order to appreciate this album to its fullest.
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| Fatal Force Fatal Force | MTM Music 0681-161 |
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Within the Fate review I stated that the band had the songs, but perhaps not the vocals. Fatal Force is the other way around. They sure as hell have the vocals delivered with fire from the impeccably fabulous Mats Levin but they perhaps do not quite have the song quality required to make this an essential purchase. The brainchild of prog-metal / instrumental guitarist Torben Enevoldsen (Section A), Fatal Force was born out of the need to find a home for some more traditionally melodic hard rock songs. Torben performs all guitar, bass and keyboard duties and adds a fine support cast for his vision. Mats Levin (Dogface/Treat/At Vance/Yngwie) is perfect on vocals while man-of-the-hour Daniel Flores joins in on drums. Torben produces and supplies all music, while Levin supplies the lyrics. It might have been a good idea to include Levin a little further, as this album has just about everything a European melodic hard rock album should have but the songs could have been stronger had they had the input of someone more used to working with commercial structure. Torben's penchant for instrumental works seems to work against him here. Opening rocker Caveman does have a strong chorus, but the flow of the song doesn't make it an easy journey to get there. The same could be said of Domino. Far Away and No Question both feature similar tempos and style's dark, contemporary rockers with slow pacing and restrained choruses. The mid-album songs Out Of Fuel through Everyone all rock with a similar pace a ton of sweet guitar riffs and some authorative lead vocals, but all of these tracks suffer from the lack of memorable hooks. It's not until Insanity that a truly memorable chorus kicks in. The album closes with one of the better tracks on the album the aggressive and powerful Eye To Eye, which features a great vocal from Levin. Tommy Hansen is again called upon to produce and mix and as per usual delivers a product with a solid, even sound and big sonic impact.
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| Oni Logan Stranger In A Foreign Land | LMC / Indie |
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I'm quite the fan of Oni Logan. His work on the first Lynch Mob album was stupendous and I always thought his subsequent absence from the hard rock scene (apart from the very late released Violet's Demise opus) was nothing short of a crime. In 2006 Logan finally returns, albeit in a form few fans will expect. My first impression of this album was that it reminded me of Europe frontman Joey Tempest's first solo album and the path it took away from his usual fare. Oni Logan takes that same musical path that stripped back, earthy mid-western sound and continues on walking, right into southern rock and country. On the way he passes Henry Lee Summer and Tom Petty and perhaps just by-passes John Cougar. Where Oni concentrates on the mid-western theme he delivers some enjoyable pop/rock tracks that fans of that debut Joey Tempest album and easy going Henry Lee Summer will definitely appreciate. Musically speaking the acoustic guitar plays the dominant role, but this remains a full band exercise. When Will You Hear Me, The Long Road and the rockabilly Bring Back The Days are all very fine songs. Stranger In A Foreign Land continues the country tinged rock and one senses that Oni could perhaps be pulling off that all-too-hard transformation to stand alone solo artist. The ballad Blue Jean is a duet with Bekka Bramlett and is pure country through and through and may be too far to the left of what fans want from Oni. Monster In The Sea returns to the mid-western feel, and Walking Through A Winterland takes a slow, but haunting path. I Remember Hollywood is a highlight of the last quarter of the album before another country ballad kills the closing moments. The album's impressive line-up includes Michael Voss and Don Airey and even a guest spot from Steve Lukather.
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| Wig Wam Wigwamania | Music Business |
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Let's be honest the guys look pretty freeking bad and their image definitely plays on the whole taking-the-mickey out of the genre they represent. These guys are walking the thin line between tribute and parody that The Darkness also treads. Where Wig Wam gets it right over The Darkness is that they don't try and take the piss on every track. Yes, they have a shitload of fun, but there are serious moments too. And the songwriting is nothing short of fantastic inspired by the very best moments of an era now past, with the production sound and energy of today's technology. And Wig Wam don't have a bloody annoying vocalist who doesn't know how much is too much. These guys are a class act and the performances on this record better their debut in every way - better vocals, better hooks and melodies, bigger backing vocals and a collection of very memorable songs. Anyone that owns anything by Poison, Kiss or even early Van Halen needs to check these guys out if you haven't already been converted. Featuring a classic guitar riff, big chorus and huge harmonies, Rock My Ride opens the album in full flight. Slave To Your Love is even bigger. Despite having an acoustic verse, the chorus is just massive and the hook instant. Gonna Get You Someday simply continues the run of uptempo rock anthems. The big rocking power ballad Bygone Zone sounds like classic Mitch Malloy from his debut album, especially in the lead vocal and layered harmonies. Dare Devil Heat features another guitar fuelled, over the top harmony filled chorus. It is at this point you simply have to admire the production budget and the sounds emanating from the speakers. Kill My Rock 'N' Roll features a chorus Kiss would have been proud to call their own at any stage during the 80s. Instrumental The Riddle slows the albums rampant pace, but features some amazing shredding guitar fans will eat up. At The End Of The Day is a more restrained and mellow ballad, which is probably a good thing for the overall pacing of the album. A R 'N' R Girl Like You gets things back into party mode. Poison take note this is how it's done in 2006! Rockers Can't Get Her (Out Of My Bed) and Breaking All The Rules continue the tongue in cheek lyrics and none-too-serious theme of the record. Not as groovy as the front half of the album, but some great guitar work make these worthy of their inclusion.
One album that is destined to feature in many year-end 'best of' lists.
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| Kiske Kiske | Frontiers Records FRCD285 |
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Former Helloween vocalist Michael Kiske was the voice behind one of 2005's best melodic hard rock records in Place Vendome. However good that album was, he was quick to point out that he wanted an even more melodic record. Once that statement was made, it was clear that his solo album would be something different from the norm. How different though caught me by surprise. Kiske has gone to the extreme left of where you would normally find him musically speaking. Kiske the album is a collection of 11 acoustic pop songs, may stripped back to just a guitar and vocal and others featuring a full band arrangement, albeit in a very soft and subtle setting. This is an extremely slow paced album and an incredibly hard one to sit through from start to finish unless you are seriously in the mood for some soul searching and a very mellow record. To be brutally honest, I can't predict how many of Kiske's regular fanbase is going to appreciate this. In his favor, Michael Kiske has an extremely likable voice in just about any setting but here the repetitive tempo and laid back delivery of the songs may test some of his fanbase. In places Kiske's ability to deliver a good melody and memorable hook shine through Fed By Stones, Knew I Would and Hearts Are Free are the best examples on offer here. On other occasions such as on Kings Fall and Sing My Song, the pace is so painstakingly slow that I cannot listen to them all the way through.
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| Foreigner Extended Versions | BMG |
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Guitarist and band co-founder Mick Jones took a bold decision to step out with Foreigner sans Lou Gramm for a second time. The first time he took vocalist Johnny Edwards along for the ride with the album Unusual Heat their only collaboration. Although a solid record it was a commercial failure, but remains a fan favourite with some. In 2005 Mick again took to the stage without Lou and without a line-up that had remained stable for some years. In its place is a new kick-ass rock n roll line-up that features Jeff Pilson (Dokken), Jason Bonham (Bonham, Virginia Wolf, UFO) and on vocals, the great Kelly Hansen (Hurricane, Unruly Child). Long time keyboard player Jeff Jacobs remains as does guitarist/saxophonist Tom Gimbel. Their first outing as a band is a new live album. Unfortunately the set is being released under the unreliable and patchy brand name Extended Versions, which really has f-all to do with the description of a live concert and the sterile packaging does the album no favors whatsoever. A European release with much improved artwork and 2 extra tracks is being released under the Live In 05 tag. Look for that instead. But let us not reflect on the minor details how do the guys sound? Bloody great is the answer. The new line-up sounds as well oiled and as comfortable as you could wish for. While the new half of the line-up is better known for their hard rocking exploits, the guys handle the Foreigner material with surprising delicacy. What I'm trying to say here is that the guys turn down their metal instincts to bring some very fine pop/rock attitude to the old classics, just as they have been played all these years. They rock when required and otherwise stick to faithful and rather slick renditions that sound as if they have been playing the tunes for years. You would expect nothing else from such a pro line-up. Most impressive is vocalist Kelly Hansen. He sounds totally at home singing this material and while at first you strain to compare his vocals to those you are used to hearing, his flawless performance soon allows you to relax and enjoy the individual aspects and new energy he brings to the songs. The band run through a short set list of the classics; Cold As Ice, Dirty White Boy, Feels Like The First Time and Urgent all rock beautifully and on the slower numbers Waiting For A Girl Like You and the epic I Want To Know What Love Is, Hansen really blows away the crowd. On the harder rocking Jukebox Hero, the band flies and breaks into a Led Zeppelin medley, no doubt giving Bonham his time to shine. Closing the set is Hot Blooded, which runs some 8 minutes plus featuring plenty of ripping guitar work. Also of note is the quality of the band's harmony vocals throughout.
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| Relapsed Into A Former State | MTM Music 0681-163 |
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Caught In The Act got two cool albums under their belt before ditching the name and going with Guild Of Ages. They got even cooler then, with 3 more albums 2 of which are near classics. All 5 albums were produced by Axe's Bobby Barth and all sounded sonically impressive. Then they disappeared .Five years later they are back under moniker number 3. Relapsed close in on the sound of their first two albums those released under the Caught In The Act name. The guys still have attitude, and they still have style. And they still know how to write some great rock songs. They always had this unique vibe and I'm pleased to say that style is retained here. What is missing is that knockout production. Without Bobby Barth for the first time, the band clearly drops a few notches as far as sound quality. The vocals of frontman Danny Martinez sounds quite raw and the backing vocals aren't nearly as big as the Barth produced albums. I'm also not sure about the guitar sound perhaps a little hollow. This is a solid album, but would have been even better with a production job to rival those given to Guild Of Ages. Ok, that aside, some fine songs here and as stated plenty of American rock n roll attitude. I think Barth also brought out the best of these guys with their writing, but on their own there are still some new highlights. While Welcome To My Life is a pretty safe opening mid-tempo rocker, things get interesting with the feistier End Of The Line and the angry Undone. The commercial rocker The Other Half has a good hook, but could have used some bigger backing vocals. Mercy Pays The Dept is another great track and typical of the attitude this band has. The band takes on the Queen classic I Want It All and despite good intentions fall short due to the lack of impact. The fine ballad Everyday and the commercial Somewhere We Belong close the album on the same good note as it started.
Now, if only they could hook up with Bobby Barth again and get that production quality of the GOA material back.
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Akira Kajiyama + Joe Lynn Turner Fire Without Flame |
AOR Heaven 00024 |
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I'm glad to see that AOR Heaven has picked this up for Europen release as fans of Joe Lynn Turner deserve to have access to this without the exorbitant Japanese import price. And secondly while this is an enjoyable record I don't think it's a classic worthy of that Japanese price tag. So, the European release is a much better proposition and is something that all JLT fans should pick up. Joe is definitely the key to the enjoyment of this record. He supplies much of the album's music all lyrics and melodies and Akira supplies the musical backing and structure. The music is of a style JLT fans will certainly be comfortable with very commercial, 80s influenced melodic rock. Akira previously played with Joe and Glenn Hughes live with HTP, so he knows Joe's vocal moves well and therefore this record covers a little of everything we know Joe for melodic rock, HTP style blues and some classic hard rock. The albums rocks in places the opening track One Day Away, Looking For Trouble, Down & Dirty the Rainbowesque double time pace of Survival; then there are also a couple of fine ballads in Heart Against Heart and Forever Changed and a mid-tempo melodic rocker in the title track Fire Without Flame. Of course there is a little showcase for the blues with Bad Feeling and the boogie of License To Kill. The one thing I don't like about the record is the guitar tone. I don't think it does the material justice and sounds pretty hollow in places. When the record is more or less a solo album for a well-known guitarist, it might be a good idea to ensure that part of the record sounds as good as is possible.
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| Pavic Taste Some Liberty | Anteo Records ATR 105-2 |
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While Chris Catena fans wait patiently for the Italian rocker's next album, you can indulge in the debut from Catena's mate Marko Pavic. The Pavic album is of a similar breed to Chris' own album and features a slew of special guests and of course Chris on lead vocals. Taste Some Liberty is a melodic hard rock record with a strong European/Italian feel, especially in the accented delivery of the lead vocals. It is a melodic rock record without being dated, or sounding too modern, but features influences from both sides. The guys deliver a fine sounding record for an indie release this features a great production and a nice clear vocal/guitar sound. Plenty of tricks on offer here solos, riffing, some bluesy organ and at times over the top lead vocals. The only place I can spot room for improvement is with the song's choruses. The groove is there, they playing and production is there, but some better structured and more memorable choruses would go a long way to making this band the complete package for fans of European melodic rock. A cover of Supertramp's Logical Song may not be for all, but it shows the guys are not afraid to at least be brave in their musical endeavors. Guests on the album include: Kee Marcello (Europe, K2), Tony Franklin (Blue Murder, Whitesnake), Vitalij Kuprij (Artension, Ring Of Fire), Daniel Flores (Xsavior, Mind's Eye), Vivien Lalu (Lalu), Adolfo Ramundo, Jimmy Bax, Sandro Manicone, Patrizio Izzo, Davide Matera, Chris Heaven.
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| Marshall Pages From The Past: Tome 1 | Indie / Frontiers Dist. |
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This is an indie Metal release, distributed by Frontiers in Europe. I can see why it is indie. I can't see any label I know of signing this. The guys aren't necessarily bad .well, I think it's pretty bad .but they just don't know what style to stick to. This is their third studio album and one would have thought they would have carved out a niche by now. Power metal progressive metal .speed metal .symphonic .bloody hell, its all here and that's only in the first two tracks! Then there's the lead vocals sung a first, then spoken word vocals, then some screaming and even a dose of black metal shouting for good measure. And is that a Evanescence style female lead in the background? Wow, too much of everything leaves the listener confused and the band without any direction. In a word messy. In another awful. But it might appeal to someone out there . |
| Frontline Circles | AOR Heaven 00023 |
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Germany's Frontline are back ever reliable, with a new album and a tougher sound. Well, not much tougher this is a direct follow-on from the band's last album Seventh Sign. Yes, this is a little heavier and features a bigger guitar crunch, but let's be honest. All Frontline albums sound pretty similar and this is no different. There is a certain comfort felt when playing a Frontline record. You know what's coming and still it remains ever enjoyable due to the quality of what's on offer. Circles sees the band maintain their high standards a tight production, big sound and plenty of layers of guitars going back and forth. And then there are those vocals! Even lead singer Stephan Kδmmerer has toughened up his delivery here, but the style is unmistakable. His Perry-like AOR vocals are, as usual, drenched in layers of harmony vocals and compliment the music perfectly. I have never found any Frontline album to be an instant smash rather the albums grow on you over time and that is again the case here. Where a first nothing stood out, I now can't wait to hear the chorus for the opening rocker No One, or the more aggressive lick of I Give You The Rest and the heavy AOR angst of Did You Ever (Taste The Pain). Also impressing are the fast paced Say What You Have To Say and the rocker Don't Run Away, which probably has the best chorus of the album. The album closes with another two strong melodic rockers, making this one of my preferred albums from the guys to date.
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Wetton / Downes Icon: Acoustic TV Broadcast |
Frontiers Records FRCD277 |
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For the life of me, I cannot recall a more boring live release than this. I mean no disrespect for the great talents involved, but I have heard better from them. I liked the Icon release a great deal and I have a lot of time for Asia in general. But this stripped back performance is simply too much to bare. The music from the Icon album was already easy listening and Asia themselves aren't known for their rocking out. So to strip the songs back and slow them down even further risks sending the listener into a coma. At times I felt Geoff and John were heading that way themselves. Sure the quality of tracks like the legendary Asia classics Heat Of The Moment and Voice Of America shine through, as do the new Icon tracks Let Me Go and I Stand Alone, but that is simply not enough to make this an essential purchase for anyone. I feel the guys are going through the motions here and while the CD might be an easy listening piece, the DVD release is even worse. It is utterly without life and it is extremely hard work watching John Wetton look bored out of his mind, while Geoff Downes sits there trying to look slightly more animated. Making a mockery of this 'live setting' is the fact there is no way the audio playing is from the vision being watched. There isn't even a microphone in sight! Hilarious! The piped in backing vocals don't match the acoustic performance and Wetton doesn't look at all like he is putting any effort into singing, he is barely able to keep himself awake. Some of the backing vocal parts look so fake when Wetton tried to look like he is signing them. Asia fans are an intelligent bunch; I don't see any of them being impressed by this affair.
The audio volume on the CD is about 3 levels above the DVD and the reworked running order is a vain attempt to keep the listener's attention. Do not, whatever you do, play this CD in the car while driving.
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| Giuntini Project III | Frontiers Records FRCD274 |
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Giuntini Project 3 is the brainchild of Italian guitarist Aldo Giuntini and follows the same format as GP2 both featuring lead vocalist Tony Martin. As with most things Tony Martin appears on, this is straight ahead European hard rock with a touch of Sabbath influenced riffing, not to mention a little Rainbow and the many imitators that followed. Giuntini is a fine guitarist and he mixes the need for big riffs and flashy solos with a good balance. He also mixes up the tempo of the songs from the double time opener Gold Digger, to the Sabbath like slow intensity of Que Es La Vida back to the frantic Fools Paradise and Disfunctional Kid. Martin puts in a solid performance and his appearance raises the credibility of the whole album a notch or two. It is all very good, but it is also all very familiar. Production comes courtesy of Dario Mollo of The Cage fame. The same guitarist that has featured Tony Martin on his own past 2 releases. The two Cage and Giuntini Project releases all pair-off quite easily and there is not a lot of musical difference between the four albums. That's great if you enjoyed those more to like here. But at the same time, this isn't anything to challenge the mold offered on past releases.
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| Mind's Eye Walking On H2O | Lion Music LMC162 |
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In some ways, Mind's Eye reminds me of Platitude, recently reviewed here. They both hail from Sweden and both produce progressive rock with strong melodic influences driving the material. And both have very good and very likable lead singers. What interests me here is the list of influences the band lists. Rush, Yes, ELO, Toto and Genesis to name a few. I think those names sum up what is on offer here good commercial melodic rock/AOR, but with a challenging and intelligent progressive twist. Walking On H2O is a concept album on centering on human evolution, science, religion, unexplained phenomena, alien abduction, deadly virus, earth pollution, loyalty, marriage and immortality. Kinda heavy, eh? Well, the subject matter and the lyrical content may be super intense, but the music remains very accessible and filled with plenty of hooks to hang your ears on. A lot of this credit must go to lead vocalist Andreas Novak the man behind the very cool Novak solo release of a year or so back. His voice is so likeable and the layers of melody backing him make it almost impossible not to get drawn into the music. Daniel Flores has used his busy schedule to hone his skills and is all over this record with his keyboard flurries and drum rhythms. Guitarist/bassist Johan Niemann supplies plenty of riffing for the technically minded, and even though keyboards and vocals dominate, he knows how to anchor the song with a strong riff. Opening with the very commercial A Rabbit In The Hat, the band challenges the listener with the more complex Equally Immortal before getting more commercial again on the very likable Mrs. Clair Voyance. The double header of Sahara In An Hourglass and Out Of My System put the album into orbit as far as melodies and hooks. After this point the band gets a little more complex and progressive and you have to work more at getting to know the songs. Production is smooth and gives the listener no reason to complain and the band's own individual performances should see their names bandied around in the same context as their peers.
Their influences of Rush, Toto and Yes all shine through, but they also have their own European feel, all packaged into a While perhaps still not for everybody, the album does offer some truly great melodic hooks and would make a nice change of pace for those looking to be a little more challenged by their music, should the mood fit.
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| Survivor Reach | Frontiers Records FRCD282 |
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There will be certain euphoria from a large section of the Survivor fan base that this album has finally seen the light of day. I'm sure that euphoria will see some amazing adjectives bandied about to describe the album's brilliance. Once the fanfare has resided, a more realistic evaluation of the album might be possible. Having lived with this album for several weeks now, I think I can offer a balanced review. It really should be no surprise that Reach has a different vibe than the bands past work and their last studio album Too Hot To Sleep. After all, that album came some 18 years ago and I think since then the band has grown and matured into a new found comfort that is reflected on this album. Survivor fans have grown up too and I think there will definitely be some that find this album a perfect fit for them in this day and age. I also think that there will be another section of fans that think the band has lost their rock edge and find this album a little too mellow overall. Personally I think this is a mood record. If the record fits the mood of the listener at the time, then it has a great deal to offer. For the most part, I don't think Reach has the same vibe as past Survivor records. This is something new. I think it requires a slight change of outlook by the listener to get the most out of it. If you are looking to rock, then perhaps this is not the right record for the moment. Reach finds Survivor in a mellower mood and a lot more reflective. It is a different mood than past records and sees the band trying a couple of new tricks, such as allowing guitarist Frankie Sullivan a chance at lead vocals and featuring acoustic guitars more prominently than I can ever recall. I think the material featured on the record is largely pretty good and will keep Survivor fans happy, but I do think there are a couple of key areas that if changed, could have made an even better record. A couple of things don't go Survivor's way here. The songs themselves are mostly impressive and stand up in their own right. But put them together in the scheme of an album and the similarities in mid-tempo pacing becomes obvious and I also don't think the track sequencing is quite right. Also going against the guys here is the fact they have one of the strongest back catalogue's in melodic rock history. I say that as a huge compliment, but at the same time, how many artists could really satisfy the demand and expectation for a new album after an 18 year wait, given the strength of past records? A near impossible task for just about any band, but the guys put in their best effort. Track By Track: Reach sets the album up for a flying start - a mid-tempo melodic rocker with a classic Survivor verse which sees the great Jimi Jamison controlling the song's melody with his voice. The chorus is instantly memorable, but I could imagine it flying just a little higher had there been more backing vocals. A nice balance of keyboards and acoustic and electric guitars drives the song. Fire Makes Steel sees Frankie switch to a harder edge guitar sound and a darker overall mood. This is one of the more famous Survivor cuts from the early 90s sessions. It has aged pretty well and fits in fine here, offering a flurry of guitars and another strong chorus. Nevertheless changes the tempo yet again this time back to the same vibe as the opening track, but rather with Frankie Sullivan on lead vocal. Frankie's voice isn't as strong as Jimi's and is perhaps an octave higher. The song itself is very pleasant. Easy on the ears, strong chorus and a nice melodic hook. I'm not sure however, that its position within the album is quite right and I would have dropped it down a couple of places. Jimi returns for what is the first of two very strong ballads. Seconds Away isn't a typical Survivor power ballad and nor is the track that follows One More Chance. Both are sultry and moody ballads with strong sentimental lyrics and emotional vocals. Jimi's voice alters a little here I think he has concentrated on capturing the emotional aspect of the song rather than perfecting a usually smooth vocal. While rough around the edges, One More Chance certainly gets my attention as a very fine ballad. For the first few listens I classed the next track Gimmie The Word as another slow track. And while the album could have definitely benefited from a more uptemo number in this slot, the track itself isn't a ballad. Rather, it is a subtle rocker with a strong lead guitar presence, but a restrained tempo and a dark and moody vibe. Keyboards are right back in the mix and Jimi's voice is again raspier and less polished than we have come to expect from him. The Rhythm Of Your Heart is probably my biggest disappointment of the album. It's a fine ballad in itself, but what we really needed at this point was a big rocker and let's be honest how many people out there already have this track in demo form? Coming from Jimi's own solo album sessions in 1999, the track is ok, but if it wasn't considered for Jimi's Empires album why now? At this point I am really hanging for a rocker, but it doesn't come in an expected form. Rather I Don't represents how Survivor has changed in 2006. This track could have been a hard rocker with an anthem chorus, but instead it is driven by a flurry of acoustic guitars which do sound impressive along with a more restrained and moody vocal. The chorus and tempo rise, but not as far as they might have done on the past. It's as if the band keep a lid on things going too over the top. They should have let things go some more. Half Of My Heart is yet another ballad. This time it's a mid-tempo pop ballad and again signifies a mellower new approach from the band. A fine ballad with some soulful guitar playing, I do think some of the impact is lost due to the amount of ballads featured. Talkin' 'Bout Love is the surprise of the album for me. This track typifies everything I love about Survivor a nice uptempo pace, a melodic verse, bridge then a monster chorus with some big harmony vocals. The twist here is that it's Frankie Sullivan on lead vocals. This blows his earlier track away and really is a much needed boost of adrenalin for the record. A couple more tracks like this and the opening track would have made a world of difference for those missing the old days. Don't Give Up keeps the tempo moving, which is a definite plus. Jimi's back in control and delivers a good vocal. The chorus may not be as instant as the last song or the title track, but it does offer a taste of classic style Survivor. Home closes out the album and yes, it's another very slow song. Home is a sentimental track without a big chorus, rather Jimi Jamison's vocal and Frankie Sullivan's lead guitar to guide the track through its paces. To be honest, I think I'll end the album with Don't Give Up on most listens.
The production style is different, the hard rock edge is not there and the music isn't as polished as in the past. I know some fans will miss these elements. Personally, I could live with all of this a little easier if I could have had two extra uptempo tracks in place of 2 ballads. But for something a little more reflective, Reach certainly offers some soulful melodic rock.
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| Gary John Barden Agony & The Xtasy | Escape Music ESM128 |
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Barden fans are going to love this. The former MSG singer and Ian Gillan soundalike takes the basic blueprint of last year's solo album and takes it that one step further to truly represent what the Gary Barden name historically stands for. This is a straight ahead melodic hard rock record which sees Barden in top form and really nailing the material on offer. Like no record since his days with MSG, this captures the traditional melodic hard rock spirit of Barden as singer straight forward blues based hard rock with a nod to Purple-esque British classic rock. The songs all but one written or co-written by Barden are simple, yet effective and filled with a strong guitar presence and authorative vocals. There's a bluesy swagger to the album, but first and foremost it is a hard rocking record. The album opens strongly with the uptempo commercial rocker Hot Daze, and gets even better with the big hook chorus of Stop (Whatcha Doing To Me) before diving into a bluesy bar room rocker Let Me Down, which features guest Michael Schenker on lead guitar. It gets slow and bluesy for Wounded which features a great vocal as does the sentimental In And Out Of Love. Pick of the album for me is Arise, a super commercial track with a big chorus and special guest guitarist Steve Morris. Closing the album is a 6 minute slow blues number which features Tommy Denander doing his best Gary Moore. Production courtesy of the ever reliable Michael Voss is a strong as ever and the mix is even and balanced, with room for everything to breathe.
Tightly produced and featuring some class songs, I rate this as Gary's best solo album and one of his best releases in general.
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| Ted Poley Collateral Damage | Kivel Records |
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Ted Poley is back and for the first time ever, under his own moniker. Ted should be proud to attach his name to this release and I think most long time fans will agree that this is one of Ted's best ever releases and definitely his best outside of Danger Danger. Collateral Damage sees Ted team up with acclaimed musician Vic Rivera, the main man behind the last (and best) Adriangale release Crunch. Vic wrote the majority of the songs here with several co-write credits to Ted. Vic also supplies all rhythm guitars, drums and bass. This is as much his baby as it is Ted's and the duo clearly work together like they have been a team for years. There are several guests who make additional contributions, but I'll get to those shortly. Like many others out there, I have been a long tine Ted Poley fan. Since the debut D2 record in fact. While not everyone appreciated the releases from Ted's last project Melodica, I think the vast majority will be united in their praise for this album. Most noticeably and importantly Ted sounds the best he has in years, with strong harmonious lead vocals at all times throughout this release. An extension of that compliment is the massive harmony vocals featured here. Each song features multiple layers of vocals supplied by Ted and the previously unaccredited Mike Ledesma. Based on Mike's input here watch for his name to appear again soon. The style featured here is very melodic - pure AOR with an occasional melodic hard rock punch. It is certainly mellower than Poley fronted Danger Danger, but kicks a little more ass than Melodica or Bone Machine. There are influences from the likes of D2 and Melodica here, plus a nod to the sound of the last Adriangale record thanks to Vic's involvement. I have spoken of lots of positives here, but there is also a couple of points where I think improvements could have been made. Firstly the song running order not as I would have done it. I think the better tracks are stacked in the back half of the album and the album's first two tracks are not at all suited for the position chosen for them. The album really kicks into gear around track 4 and maintains a better pace from that point right to the end. I would have opened with Heads Up and then moved into Endgame and then Rise. Secondly the production this is certainly the best thing Ted has put his name too outside Danger Danger, but even then there is some room for further improvement. A great emphasis has been put on making this album very melodic and drenching it in harmonies. What would have been nice is a harder hitting drum sound and a little more urgency to a couple of tracks. It wouldn't have hurt the album to be a little heavier and a little tougher. Ted is up to it and we sure know that Vic is up to it. Just a little extra muscle could have seen the great songs within taken right over the top. Just two small points for an otherwise extremely enjoyable release. Track By Track: The most traditional Ted Poley sounding track of the album kicks things off. I don't think Yeah, U Want It is the best track on offer here at all and think it was a little safe to select it as the opening track. That said, it is still a typically catchy Poley number and immediately puts any talk of vocal demons to rest. A guest spot by original D2 axe-slinger Andy Timmons caps things off. Breathing Doll is another track better suited for midway through the album and doesn't have enough impact for its position here. The drum beat is a little dull and repetitive, but the chorus and some strong guitar leads help make it work. Harem Scarem's Pete Lesperance guests on guitar. The mellower pure AOR of Curtain Call will have fans of Poley's softer side gushing. Some very melodic guitar riffing and a wonderfully passionate lead vocal and catchy chorus will have fans singing along with this from the first listen. Vic's lead solo is also something to appreciate. Endgame has a definite Adriangale vibe to it, with a dirtier guitar riff and a tougher vocal. I like it! The chorus takes a while to appear and isn't one of the album's strongest, but the track acts best as an album tempo changer. The short Xavier Paladian (Snake Eye) solo fits in well, but could and should have been longer. Maybe is a personal favourite. Kicking off with a slower, darker and moodier start, the track fires up with some strong guitar work and a brooding but memorable chorus. It again features a strong vocal performance. Firehouse guitarist Bill Leverty supplies a super fine solo which suits the song to a tee. Good Enough is another fine example of how a slight change in mood can do wonders for an album. The moody keyboard intro and a lower Poley vocal is in contrast to a great uptempo guitar fuelled chorus. A fine song and perfectly positioned in the scheme of the songs around it. Hero Falling is a fairly straight forward mid-tempo rocker with a fine chorus that touches on Def Leppard style delivery. Let Go is a very fine ballad with a sentimental heart and lots of harmony vocals. Now to close we get the two very best tracks of the album. Refer back to my point about the song running order! Still, it is always good to end any album on a high note and Heads Up (Look Out Below) and Rise do that without question. Heads Up contains that little extra bit of fire that I talked about earlier and features a brilliant chorus, strong guitar work and layers of lush harmonies! Rise continues the step up in tempo started by Heads Up. More strong guitar work and more harmonies combine with maybe the second best chorus of the album (following Heads Up) to deliver a one-two punch to seal the album.
Some fine songs and a strong emphasis on harmony and melody make this a very attractive record for fans of Ted's and straight melodic rock/AOR. I'm looking forward to the duo's next record already.
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| Chicago XXX | Rhino Records |
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In a marketplace saturated with metal, the absence of some classic AOR and Westcoast seems more noticeable. Chicago's long awaited new studio album their 30th overall release definitely fills that gap. What is most satisfying is the way the band fills that gap. This is a release of the highest quality that is designed not only to satisfy long time fans of the band, but also offer something that might attract new fans looking for something a little more mature to spin when the occasion calls for it. Divine instrumentation and immaculate production mixed with the sweet harmonies of the band's vocalists make for an album that is very easy to listen to and very easy on the ears. There is nothing on this album that will surprise anyone familiar with the music of Chicago. But that doesn't make it any less enjoyable. This is exactly what fans of the band want. The opening track Feel is classic Chicago. Soft keyboards and a subtle but busy rhythm section are dominated by a hearty guitar riff and a powerful lead vocal. At the center of the track is a great hook and one which should find them on radio playlists everywhere. Two versions are offered one at each end of the album, but I prefer the closing version. The addition of those Chicago horns in this mix really makes you feel at home. If Feel left you with any doubt, King Of What Might Have Been and Caroline won't. The ballad King Of What Might Have Been features Jason Scheff in full vocal swing with Toto's Joseph Williams guesting on backing vocals. The equally smooth, but more uptempo and radio friendly pop rocker Caroline is another example of why Chicago is the very best at what they do. Another Toto alumni, Bobby Kimball appears as a guest on backing vocals. Other guests on XXX include guitar great Dann Huff on 6 tracks; country rockers Rascal Flatts on the 80s style pop ballad Love Will Come Back; and Shelly Fairchild on the duet Westcoast ballad Why Can't We. Other highlights of the album include the Westcoast pop of Long Lost Friend and the catchy double-dose of high-tech AOR in 90 Degrees And Freezing and the even better Where Were You. Things turn a little jazzier in the last few tracks on the album, but the first two thirds is packed with classy and classic Chicago.
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| Blue Tears The Innocent Ones | AOR Heaven 00022 |
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Blue Tears are back in name at least. The famous Blue Tears debut saw the band attract a fan base that would follow them long after the dust had settled on their one and only album. As unreleased demos and rarities leaked over the years, they became a hot ticket item and were heavily traded and even sold at high prices via E-bay. In 2003 Gregg Fulkerson resurfaced fronting the more modern rock aligned Attraction 65. Their debut album was immaculately produced and deserved wider attention, but the hard core Blue Tears fans were left wishing for a return of the old sound. In 2005 Gregg dealt with the increasing issue of bad sounding BT bootlegs and signed to Suncity Records Australia for a set of CDs that saw those old classic tracks released finally in CD quality. With the enthusiasm for getting those tracks into the public domain came a desire to return to the classic Blue Tears sound with a brand new record. The Innocent Ones is the result. This is an album of 14 tracks that does for the most part return to the classic style and concept that Blue Tears originally was. The big choruses, the Def Leppard style instrumentation and the Bon Jovi/Bruce Springsteen influenced lead vocal all make a welcomed comeback. But, there is one key ingredient of the original release missing. The big production. Yes, the songs sound big that's their nature and the way they are delivered and yes, the strength of most of the songs featured here is not in dispute. But the album's production leaves a lot to be desired. At times it sounds like the music was rushed and feels incomplete. Perhaps it is the lack of any real drums on the album that is the worst offending point. The programmed drum machine sadly sounds like a machine most of the time. The drum sound becomes very repetitive and when a big burst of energy is required for the songs, the programmed beats just don't do the songs justice. Additionally the mix is very poor. The music in general and especially some guitar parts sound a little hollow and besides the lead vocal, nothing quite sounds like it used to. This pains me to say. I'll be honest and say that Gregg is a good guy, a friend and someone that I respect a great deal as a writer and a musician. And I don't doubt for a second that he will be very unhappy to read these views. But it is what it is. Sound issues aside, the album still offers some very fine songs. As stated, I respect Fulkerson's writing talent and think there is a lot of love out there for his guitar fuelled anthems of Americana, delivered in style that mixes anthemic Bon Jovi with a heartfelt New Jersey Springsteen down-to-earthness. The album opens with perhaps the strongest song of all the new ones. Drive was born to be an album opener. Designed to be played as loud as possible while flying down the highway, the song definitely brings back memories of the 1990 debut. Let It Rain is a little darker and certainly moodier. It features a catchy chorus and a cool guitar solo. Musically it is the missing piece between classic Blue Tears and Attraction 65. Run For Your Life and Fast Times are both 80s influenced rockers, while The Innocent Ones is a more reflective acoustic driven melodic rocker with a great chorus and a moody lead vocal. Save Yourself is a solid ballad, but its the big ballad All The Way Home that could easily have been a track on the Attraction 65 record and features a great lead vocal and a little extra production. The uptempo rocker She Wants To Be A Star strangely sounds louder than the rest of the album and suffers from a rough vocal. Gloryland matches the intensity of the opening track with its Springsteen styled fist pumping theme. Money To Burn is also a little rough, but the organ throughout gives it an earthy feel. The feel good chorus would certainly work live. Unrequited Love closes the album this is a moody, passionate ballad featuring only Gregg's voice and a piano. It works well.
I loved Attracion 65. It was one of my top ranking albums of 2003. What I would have liked to see was the effort and production values put into that album, brought over to the songs written for this album. The combination of the two would have made this album an absolute stand out in the world of melodic rock. As it stands, this will merely be a collection of great songs that haven't been done the justice they deserve due to a poor production sound.
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| Blue Tears Dancin' On The Backstreets | Suncity Records SR003 |
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Dancing On The Backstreets is the companion release to the other 2005 release Mad, Bad & Dangerous. Spreading the best of the classic Blue Tears unreleased tracks over two discs was always going to be risky and does expose both compilations to a few fillers. Such was the case with the first CD and there are a few more tracks here that might have been better left in the studio vault. But completeists and Blue Tears fanatics would then still be left with tracks to trade, and it can be argued that it is better get as many of the unreleased tracks out there as possible. Both compilations are enjoyable slices of nostalgia designed for fans of Gregg Fulkerson and the boys and their cult debut album. Those who have purchased both CDs now have the opportunity to create a 1 disc best of, which is what I will probably do. The best tracks on offer here are the opening duo of Summer Girl and Loud Guitars, Fast Cars & Wild Wild Women (as covered by Contraband); the 80s Kiss-like anthem of Kiss And Tell; the original version of the big ballad Storm In My Heart (updated by Fulkerson for Attraction 65); and of course the utterly essential and almost legendary Date With Destiny (originally written for Meatloaf). Also cool is the pop/rocker All Cried Out and Small Town Girl (although production quality here is pretty average). Tracks perhaps not quite making the grade include the hokey Slip And Fall; Livin In The Movies (ok track, poor production); the out of character hard pop of Touch and 'little too happy' Dark Of The Night.
I prefer the first compilation and think it would have been even stronger with the addition of a couple of songs featured here, but if you have bought the first one already, you know you need this one also.
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| Last Autumn's Dream Winter In Paradise | Escape Music ESM129 |
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Last Autumn's Dream make for a pretty strong line-up. Vocalist Mikael Erlandsson has one of the sweetest melodic rock voices in Scandinavia, Marcel Jacob is the groove meister; Andy Malecek can deliver a tasty riff and drummer Jamie Borger is the glue that holds it all together. Unfortunately following an acclaimed debut, the band shot themselves in the foot with a seriously average follow-up. That almost completely killed interest in the band, but to their credit they didn't give up. Rather they have rebounded with their best album to date. Winter In Paradise slays the demons of the second album, out performing it in every department. The production is slick and powerful, the songs are filled with memorable hooks and sweet AOR melodies and the performances are more urgent. So good is this album that for me it even overhauls the debut. Glorious uptempo Scandi AOR doesn't come much better than the opening track Love To Go, with a strong raspy delivery and instant chorus. Other highlights on this very strong release include The Way You Smile, which combines some updated production effects with a simple mid-tempo AOR ballad. My Heart Keeps Stalling features a strong guitar riff and another instant chorus; plus the band's big rocker Winter In Paradise, which features another great chorus; and the heartfelt rock ballad If You're The One. The Japanese release features It's Alright, which is one of the band's fastest pop rockers to date, while in it's place on this European release is the very enjoyable moody rocker When She's Gone, which has a modern pop vibe.
Thankfully a European deal has been struck and unlike me, the majority can now purchase without the hefty penalty of a Japanese import price.
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| Valentine The Most Beautiful Pain | Frontiers Records FRCD280 |
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There are a lot of artists featured on this site that require an acquired taste to appreciate. This guy probably tops that list! Dutch rocker Robby Valentine is one of the more unique artists out there, even when his style clearly drawn from one clear influence that of Freddy Mercury & Queen. Yes, he is a bit nutty and no, not everyone is going to appreciate this record. Not by a long stretch. For those that do 'get' Valentine and have followed his career get ready for possibly his best record to date. To add credence to this comment I'll say that I have not previously been convinced by any Valentine album, but dig this one. This is hard to describe the styles used within range from classic melodic rock to high-tech, effects filled modern rock to groove laden dance-pop through to nu-breed inspired rockers. All the above feature big choruses, layers and layers of added instrumentation and of course Queen 'inspired' choruses and vocal acrobatics. The Most Beautiful Pain is one of Valentine's heavier records to date with a greater emphasis placed on guitars and big choruses, while keyboards and symphonic passages are used as support rather than as key elements. This is a dramatic melodic rock record with far more consistency than some of Valentine's more pomp filled exercises in overblown theatrics. There is a lot of music to digest with this album so I suggest 4 or 5 listens to really get a grasp on it. The first half of the album is more melodic rock, while the second half is more pomp/piano orientated. Highlights for me are the opening rocker with the Queen-esque falsetto chorus, which leads directly into the very similar second track; the pop/punk nu-breed of I'm Going Under; the pomp/pop perfection of One Of These Days, with it's Backstreet Boys style chorus hook and high-tech production; the 80s melodic rock of She; the pure 70s Queen pop of Magical Memories; and the orchestral ballad One Heart, which again tips the hat to the theatrics of Queen and Freddy Mercury. Also watch for Supernova, which is so utterly bizarre (pomp/pop/prog/symphonic/70s glam) it defies explanation. The last several tracks do perhaps see the album overstay its welcome a little. After all, 17 tracks is a lot of music in anyone's book. The power-pop/melodic rock of the first half of the album fades a little to allow Valentine to pretend he is Freddy Mercury circa 1975.
If I am honest I must admit that Valentine is utterly untouchable when it comes to crafting theatrical melodic rock into something palatable. Robby Valentine is indeed in a league of his own and this album contains some of his finest moments to date.
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| Danger Danger Live And Nude | Low Dice Records LD20090 |
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Released via the band's website late last year, this 2003 live recording is finally available on a wider basis. Seen as a farewell release for singer Paul Laine (before the band returned to original vocalist Ted Poley), this is almost a perfect live album. I say 'almost' as the downside is that it simply isn't long enough! Its actually 71 minutes in length, which is great value for a single CD, but being the Paul Laine addict I am, a box set running 4 hours still wouldn't satisfy. This set was recorded on the band's 2003 UK tour and features Laine and Co. smoking through a set of early hits and tracks from 3 of the studio albums with Laine (nothing on here from Dawn). 13 tracks is a nice snapshot, but as I said, for such a great band you always want more. Favourites are the Laine sung originals Dead Drunk & Wasted, Grind and Don't Break My Heart Again. Having never seen the band live, I was thoroughly impressed with Laine's powerful renditions of the Poley anthems Rock America, Bang Bang, Beat The Bullet and Naughty Naughty. I especially adore the closing moments of Rock America. I know fans of the original line-up were pleased to see Poley return, but Laine still delivers those classic tracks with fire. As for the recording superb. A nice clear capture of the band at their energetic best, without studio overdubs to ruin the vibe or atmosphere.
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| Kingofthehill Unreleased | TheCompany 12051 |
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Kingofthehill's long traded second studio album finally gets an official release by the guys themselves. Fans of the debut will of course be pleased, none more than those that already had a copy of many of these songs, albeit in pretty average quality. Thanks to a refresher, these tracks sound better than ever. Kingofthehill were not your average hard rock band and their demise at the time of so many others was unfair, as they had little in common with the scene as a whole that got wiped out by grunge. The guys fronted by the charismatic Frankie were hard to pigeonhole then and even harder now. The funk and groove of Extreme, the swagger of David Lee Roth and the musical diversity of Aerosmith all combine with their own vibe to create a unique style. The debut album was funked up in places, but this is an even more diverse collection of songs. Highlights from the album definitely include the opening two tracks. What Kind Of Man and Save It For Yourself showcase everything this groovy band is and was about; Hands On U rocks with a frantic pace; Better U is a very commercial and classy rock ballad; United is a strong rocker with a vibe of the debut; and Just A Little Bit is another commercial rocker with a strong chorus. The album closes with a remix of the infamous I Do U from the debut.
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| Andersen Laine Readman Three | Frontiers Records FRCD275 |
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This is easily my favourite heavy rock release of 2006 so far. Royal Hunt keyboardist/composer Andre Andersen is behind this idea and has made some inspired choices in who to bring along with him. Two sensational voices join with Andersen to make this record work. If you can get past the bloody awful cover artwork, the material within is more straight forward hard rock than the at times, progressive or neo-classical leanings of Royal Hunt. What is most evident is the quite brilliant song and chorus hooks and less reliance on flashy soloing possibly because Andersen gets to do everything himself. Guitars, bass and keyboards are all Andre's doing - credit to him these are impressive performances. Vocal wise, former Danger Danger frontman Paul Laine makes a welcome return to hard rock after the mellower modern pop/rock of Shuggazer; and man of the moment David Readman, frontman for Pink Cream 69, provides the other half of the lead vocals 5 tracks apiece. The pair trade-off songs throughout the album, which would normally run the risk of killing the flow of the album, yet it is with some surprise that I say their voices sound remarkably similar and harmonious. Laine sounds right at home singing at the top of his lungs, especially on the opener Rise and the Danger Danger-esque rock anthem The Way It Goes one of my picks of the album. He also delivers one of the darker, moodier and more dramatic album tracks on End Of My Rope. Readman gets a similar role. A few Royal Hunt like power rockers none better than Straight To The Heart and the utterly brilliant anthem Don't Need A Thing. Then there's the darker number in Scared To Live. The material here features a lot of the power of Royal Hunt and plenty of solos still, but is just that touch more commercial and accessible. The choruses are brilliant and the lead vocals are inspired and powerful. With respect to John West, you don't miss his input here at all. I have been a big fan of the last few Royal Hunt releases, but if you could think of something those albums were missing you will find it here. Which leaves me rather confused I'm afraid. If Andre had these brilliant songs and melodies on hand, why didn't he use them on the last Royal Hunt record? That last album featured three rather pointless instrumental glory pieces which I didn't think had much point at all, but their inclusion makes even less sense now I have heard these great songs. John West would have had just as much fun on any of these tracks had they been used at the time. I guess Royal Hunt and melodic hard rock fans are winners in there end as here they are now, with two brilliant singers on hand to ensure they are given the treatment they deserve. Sound wise, the production could have used a little more bottom end. Overall the record sounds a little tinny but it doesn't take away from the enjoyment of the songs. A perfect sound would have seen this rated closer to 95.
A very fine straight ahead hard rocking release that I have been playing on high rotation ever since it arrived.
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| Jim Peterik Above The Storm | Frontiers Records FRCD278 |
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Jim Peterik keeps the recent momentum of his post-Survivor career going with a brand new solo release, squeezed in-between Pride Of Lions duties.
Jim returns to the soulful, earthy rock n roll tone of his World Stage project, which is an outlet for the other half of Jim's writing skills, when he is not concentrating on AOR. Like the World Stage release, Above The Storm features a Midwestern style straightforwardness that has seen Jim become a popular co-writer with the likes of Lynyrd Skynyrd and 38 Special. On board for the album are some old friends and faces, including Ed Breckenfeld, Klem Hayes and Mike Aquino (Pride Of Lions) and the Ides Of March guys, although the main musical credit must go to Jim himself, who supplies a majority of the instrumentation. For those who have followed Jim's career and don't need converting, this will be a welcomed release that touches on familiar themes spirituality, love, family and facing life's challenges head on. For those that haven't warmed to the Pride of Lions material, this might offer an alternative opportunity to appreciate one of the melodic scene's finest writers. Given the nature of the album's style, it might even appeal to a few new folk - those that look for positive lyrical content within their music and like the melodic, yet back to basics sound of such bands as 38 Special and David Carl. Not every track works, but the majority do and Jim's vocals, while a little rough, sound better than ever. Live Life and Burning With A Reason give the album a flying start. Two energetic rockers with a southern rock 38 Special feel and some great guitar work give notice that even as a solo artist, Jim's a rocker. The soulful mid-tempo Above The Storm delivers a sentimental message and one of Jim's more expressive vocals to date. In The Days We Have and Stand And Be Counted both vary the tempo and offer more fine melodic choruses. At This Time Of Night has an interesting swagger and a chorus hook that won't let you forget it. The next few tracks explore the romantic side of life and change the pace of the album a little. Talent For Loving You is true romantic ballad, but is perhaps just a little too nice for me. Jim counteracts with my favourite track of the album. Hiding From Yourself is a first rate melodic rocker that sounds like a classic 38 Special/Don Barnes anthem. The album closes with a couple of slower tracks, which in some ways take away from the momentum of the first half of the album. Not bad tracks by any stretch, but perhaps closing the album after Hiding From Yourself might have been a better idea.
Perhaps a couple of tracks too long and a little too nice in places, this is still another great release that Jim can be proud of.
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| Bloodbound Nosferatu | Metal Heaven 00016 |
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What's this? Swedish AOR guru and ivory tinkler Fredrik Bergh (Street Talk) performing melodic metal and dressed to the nine's in gorefest make-up? What is the world coming to? Is AOR truly an artform at risk of total annihilation? In answer to those questions no idea and yes indeed! But the end is not quite upon us yet. Previously responsible for some of the finest and sweetest AOR this side of Air Supply, Bergh has 'turned nasty' and is now showcasing his great talents to a new audience. No one could blame any devout AOR legend for trying something new. And due to the fact Fredrik is recording a new Street Talk album now; we will allow him this excursion into metaldom. Fredrik joins with long time pal Tomas Olsson on guitars and Urban Breed, the highly regarded frontman from the Tad Morose. In all seriousness, this is a pretty fine record. I'll skip putting a poster of these guys on my wall (that's a frightful look), but Bergh certainly adds something worthy to his resume. On the strength of this debut, I can see the band continuing on for some time. Yes, this is pure European melodic metal with the furious double time drumming and wailing guitar riffs, wrapped up in a polished production. As the name suggests Bloodbound is certainly not a 'must-buy' for Street Talk fans but tose with diverse tastes could find something new to enjoy here. Like all things involving Burgh, there is a certain class to the songwriting here and a definite melodic touch shining through. Tracks such as Behind The Moon, Nosferatu, Crucified and Fallen From Grace contain some great lead vocals and in tune with the furious guitar and rhythm onslaught are some strong melodies.
As stated, one must have an ear for the sonically intense music on offer here. If it's something a little more laid back you are after, then grab Street Talk and relax!
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| Liberty & Justice Soundtrack Of A Soul | MTM Music 0681-158 |
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American Christian rockers Liberty & Justice or more precisely, the man behind the name; Justin Murr returned from exile in 2004 with an album that had moments of greatness, but too many other parts that just didn't work. The inclusion of several rap based lead vocals were the worst offenders among some modern hard rock influences. Justin has learnt from those mistakes and the new album is better in every department. The songwriting is stronger and the production is certainly of a higher quality and more consistent. While the face of the band, Justin co-writes some of the music and provides some of the bass. The rest of the instrumentation and all lead vocals are provided by a long list of special guests. It is this that leads the album to appear a little disjointed. Its predecessor suffered the same problem. The album features some great songs but is enormously varied from industrial to metal to AOR to acoustic it still lacks a common bond to help it move from start to finish without too many bumps. The rap elements have been dispensed with, but the album still features some modern elements that some won't take to. Thankfully though, there are still some great melodies and lead vocal performances to bridge the gap between modern and traditional hard rock. What works within the album The aggressive opening modern rocker Kings Of Hollywood, with its semi-industrial vibe, has a thumping rhythm section and guitar riff, plus a forceful lead vocal from Ez Gomer of Jet Circus. The very melodic and commercial Stage Of Grace features AOR favourite Russell Arcara who delivers another fine vocal. The track does sound a little out of place, but works. Jamie Rowe never disappoints and his acoustic ballad also impresses. Leif Garrett is one of the surprise guests of the album, His track if this is possible is an acoustic driven metal track which changes pace two or three times. It may not be the best track of the album, but it is certainly original. The aggressive Starbreaker style hard rock Flinch featuring Tony Harnell is certainly a winner...there was never going to be much doubt there! Mark Slaughter and Pete Loran (of Trixter) make an interesting pair and their track rocks with a good punch. Always Tomorrow features a nice melodic vocal from Ted Poley, but is a little thin production wise. What really doesn't work Surprisingly the Sebastian Bach fronted Another Nail sees him deliver a vocal that doesn't sound anything like his usual fare. Grenade features Dale & Tony Thompson of Bride and is more or less just noisy metal and does my head in. Following on from a pure AOR track and an acoustic ballad, it seems lost at sea. Oni Logan sounds great, but his song Show Me The Way lacks a decent hook. And why, oh why can't Stephen Pearcy record anything remotely melodic anymore? What is his fascination with industrial noise? Killer Grin is another track avoid unless you enjoyed Pearcy's last solo album. Helping supply the music is Tommy Denander (of course), Tim Gaines, Mike Layne, Jamie Rowe, Sayit, Stephen DeAcutis, Mikkey Dee and more.
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| Platitude Silence Speaks | Metal Heaven 00015 |
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Of all the European heavy music releases currently in circulation, it is two Swedish bands that really stand out from the crowd. One is Bloodbound, the other this the third Platitude album. Yet another talented outfit to come out of Sweden, Platitude deliver a thoroughly memorable album that mixes the softer side of melodic metal and more straight forward AOR with a progressive rock twist. Silence Speaks is a hard hitting album with a powerhouse sound thanks to producer Tommy Hansen and the songwriting prowess of the band themselves. Nobody's Hero mixes swirling keyboards with memorable guitar riffs and a varied rhythm section. At times the music travels on overdrive, other times the band lays a simple harmonious bed for the song to work from. At only 40 minutes in length, the band defies logic and crams the platter with so much music. Producer Tommy Hansen guarantees everything sounds in place and crystal clear. The guys have the musical chops of Dream Theater and Royal Hunt, yet the melodic touch of Street Talk, Journey and TNT. There are no fillers here this is a very strong album from start to finish. But highlights if need to be picked are plenty - the opening track Tell The Truth, which features the stark contrast of a pounding guitar and melodic keyboards; the progressive AOR of Silence Speaks; the free-flowing uptempo progressive melodic rock of Empty Inside; the Journey/Urban Tale style AOR of Fear and the double time prog meets AOR of Don't Be Afraid. And I must also mention the at times furious riffing of Falling Down, which gives way to another strong Urban Tale like AOR chorus.
This is a challenging one to roll into a simple description, but Platitude are progressive without being too complex, metal without being too bombastic and melodic without being too wimpy. It's a great combination that finds them in a unique position with a unique sound.
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| Altaria The Fallen Empire | Metal Heaven 00017 |
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Yet more metal! Where is the AOR?! In its absence at least we are being supplied with some quality music of the heavier variety. Finland's Altaria continue to go from strength to strength, with a lot of touring and a regular recording schedule that delivers an album per year or so. The Fallen Empire is the band's 3rd album. The band head in a slightly heavier direction than the last album, but maintain the melodic metal style that appears on all three releases. This is a solid and enjoyable album and delivers exactly what was expected. It is unremarkable in that respect, but every bit as consistent as fans expected. I prefer the last album for the fact I think it featured more memorale songs. A big time production sound helps the guys compete in the big pond, despite being on a small label. Former Dio guitarist Rowan Robertson and Sonata Arctica keyboardist Henrik Klingenberg guest on this album for a couple of solos. Highlights The opening tracks Disciples and Valley Of Rainbows are two of the more immediate tracks on the album; The Lion is a nice bit of classic metal and the epic 8 minute The Dying Flame closes the album off without something a little more musically challenging.
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| Warrant Born Again | MTM Music 0681-154 |
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This is a tough one for Warrant. It has been several years since their last album, so the material has to impress. The band has a new lead singer, so he must also impress. The band has, during their lifespan, had a couple of very distinct styles, from the stadium rock of Cherry Pie to the more aggressive Dog Eat Dog and then the grunge flavored Ultraphobic. Warrant's legion of fans all has their own favorites, so along with the other challenges, the guys are under pressure to deliver a record that will please the majority. I don't think they have pulled it off. Born Again sees the band back in a more traditional melodic hard rock vein akin to the band's first two albums. But new singer Jamie St. James has an obvious influence over this album. While the sound of the band's first records may be rekindled, St. James brings the style and flair of his history with Black N Blue to the band and it is this aspect which is the main influence over the sound of the album. It is more Black N Blue than it is Warrant. Personally, I don't see this as the problem and think the sound the guys have settled into does suit them and isn't out of character for how Warrant should or could sound like in 2006. I actually think the album sounds great the production courtesy of Pat Regan lives up to his consistently high standards and the honest, somewhat simplified rock n roll sound gives the record a nice edge. What I do have an issue with is the songwriting. A great album must have a great sound, strong performances and knock out songs. I don't think Born Again features enough knockouts. In fact I'd rate only 2 or 3 songs as truly great Warrant tracks and the rest I rate as just ok. Not bad, but certainly not strong enough to knock all fans off their feet after such a gap between albums. Of those tracks that impress, Hell, CA is probably the best of all, with a typically strong harmonic display on a song that fits the persona of the band and also features a good hook. Other highlights include Dirty Jack, which is a strong hard edged rocker, but has more AC/DC in it than traditional Warrant. Rollercoaster has a certain attitude and a strong hard rocking guitar sound; Down In Diamonds has a strong chorus and Velvet Noose is, like Hell CA; driven by strong harmonies. Of all the songs, the closing number Good Times probably rocks harder than any and could be an example of what the album needed more of. Elsewhere the songs just don't fire my imagination and lack some decent hooks to drive repeat plays.
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| Shadowman Different Angles | Escape Music ESM127 |
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I was initially in two minds about this release influenced I think by the amount of metal in the market place currently. It seemed just a little too laid back. But then I realized that is the whole point. This is laid back...it's also soulful, bluesy and filled with some glorious old-school AOR melodies. In between all these European melodic metal releases it is so nice to hear some high quality traditional AOR once again, served up in a finely polished package. Different Angles is a very apt title for the second Shadowman album. Band principles Steve Overland (FM) and Steve Morris (Heartland) have opted for a slight change of approach this time around. The more straight forward AOR of that debut has been re-tuned to showcase a bluesier, more laid back direction. The bulk of the material retains the trademarks of the acclaimed debut, but skewers it into a more soulful package and one I must say suits the band very well. Even the more uptempo numbers are delivered in a soulful spirit. Mood plays an important part in these songs, so the listener must be in a similar frame of mind to reap the rewards of some strong material. An album that appears very laid back gathers a little extra pace once you get to know it, but overall the material does remain between slow and mid-tempo. Song wise, Learn To Live Without You and When It's Gone It's Gone are two of the tracks which most reflect the sound of the debut, while the soulful Take Me Home is a perfect example of the sultry vocal delivery of Overland and like many of the tracks, steps up a notch during the choruses. Way Of The World is totally subliminal until the chorus brings a fresh burst of energy to the track, highlighting Overland's pitch perfect vocals. The album dips a little for a couple of tracks in the middle, but the uptempo AOR of Chains offers perhaps the most urgent track of the album and a nice lift in pace and is followed nicely by the memorable Dreams Die Hard. Runaway Girl is similarly laid back, but driven almost entirely by acoustic guitars and offers Overland fans something a little different. Some sweet harmony vocals make it an enjoyable track. The album closes on a high note with another more urgent AOR track that might have been something from the debut.
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| Main Attraction Keep On Coming Back | MTM Music 0681-155 |
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Main Attraction's frontman is Bennech Lyngboe half of the duo that delivered the wonderful first On The Rise album. Sadly the partnership did not last and On The Rise continues without Bennech. He moves onto Main Attraction, concentrating this time on delivering just the vocals, leaving the guitar and keyboard work here to Ronny Heimdal. This is one album that took some time to click. I never rush a review if I'm not sure about a title and this is definitely one I am glad I lived with a little longer. My initial assessment was not favorable. While I still have a few issues to raise, my opinion is far more favorable now that I have lived with this and really gotten to know it. First impressions of this album lead me to think that it sounded unfinished. The production was not as clean as it was with On The Rise and certain songs featured just didn't gel. The truth is that this project is definitely rawer and more simplified than the multi-layered On The Rise album. The beauty of the songs does shine through, but that said, a little further polish in some areas might have made an even better release. There are some parts where the guitar doesn't appear evenly mixed and a couple of places where the keyboard parts are actually more annoying then helpful. Until You is the main offender here it features a great melody, but the keyboards take time to grow on you. Calling You is one where the guitar parts perhaps could have used some refinement and Over The Top at times feels like the guitars could have been rearranged for better result. Bennech has a likeable voice, but it doesn't always come across comfortably. It sounds a little forced in places and the Scandinavian accent can also be very strong, not to mention it sounds like some of the high notes are struggled with. On the positive side of things, I can comfortably say is that there is some highly enjoyable melodic rock songs featured on this album. I wouldn't say they are immediate but they grow on you after a few spins and continue to offer something new each time the record is played. Highlights include the opening rocker Calm Before The Storm, the very AOR friendly Only One and the wonderfully lush, sultry harmonies of Blue Jeans Girls. Additionally, the hooks and melodies throughout the album are actually quite involved, so this record remains fresh for a good while after others are normally known inside out. A couple of nice ballads are featured, the best being Under My Skin, which will certainly appeal to fans of On The Rise.
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| Ian Parry Visions | Escape Music ESM126 |
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It has been a while between solo drinks for vocalist Ian Parry 10 years in fact! He wastes no time sliding back into the contemporary metal scene by hooking up with members of Vanden Plas, Elergy, Within Temptation and Kamelot. 2 years in the making, the result is a tough, hard hitting contemporary European melodic metal release that I think all Parry fans will be happy with. Something that stands out for me is the expanded use of backing vocals and a more dramatic role for the keyboards, which is something being used to great effects by a number of currently hot metal acts. In Parry's own words, he stated that he wanted to try something more modern and commercial while retaining past influences of progressive rock and symphonic metal. That he has done this is a very dramatic record, but one that also features some complex material set around several other tracks which have almost immediate commercial appeal. The opening track Innocent Minds features a female lead vocal alongside Ian (name uncredited on promo copy) as well as at various other times throughout the album in a backing capacity. The song is very contemporary and reminds me of Lana Lane / Nightwish style metal sound. Angels features an Evanescence friendly sound and a massive chorus for a metal song, backed with female harmony vocals. Another Day is a big symphonic ballad and Fallin' follows a similar path. Taking a definite side step away from the rest of the album is the modern high-tech sounds of Slip Away, a soft ballad filled with production effects and samples. Lovin' A Stranger shows further diversity with a dramatic flurry of guitars and a sound approach more akin to a film score. No Man's Land changes the course of the album again, offering up a piano ballad, with the commercial hard rocker Visions closing out the album.
The tweaking of Parry's approach sees him deliver a very contemporary melodic metal release which should find favor with new and old fans alike. I think this is one of the more stand out releases from a long career.
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| Sora Demented Honour | MTM Music 0681-157 |
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Sora's Demented Honour is the album released independently by Erol Sora last year. MTM have wisely picked it up for wider release, which means more melodic hard rock lovers are likely to hear this and impressed you will be. The moniker has changed to just Sora, as if to project a band name over an individual artist. It is a shame this even has to be considered, as it seems true that band projects sell better than releases attributed to a solo artist. But cut through whatever name issues and you will find that Demented Honour is a smoking classic rock album. I say classic rock, as the style of this album is very much influenced by the likes of UFO, Deep Purple and 70's rock in general, dressed up in a melodic friendly package with a strong production sound and balanced mix. Erol Sora provides all vocals and guitars, not to mention all the music he is truly the backbone of the entire record and for that reason his performance should be praised. His lead vocals are very likable and on more than one occasion mirror the tone of Phil Mogg of UFO. He has also spent a great deal of time working with John Lawton of Uriah Heep fame and those influences shine through. That warmth is carried through into some great songs. The opening hard rocker Highway To Nowhere and the stomping Guilty get the record off to a flying start and then the bluesier Barstool Corner and the double-time blues rocker One Way Ticket offers classic UFO fans more joy. NYC and Piece Of Paper show another side of Sora, with acoustic influences offering a change in pace. The album closes with the double take of a feel good rocker If You Ever Needed Love and a more introspective acoustic influenced track Rain.
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| Pump Breakdown To Breakthrough | Metal Heaven 00018 |
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European melodic metal is everywhere right now from Altaria to Faro and several others in between. There just seems to be a huge influx of acts and releases. Pump are another new act, but one with a debut album already to their name. I haven't heard that, but Breakdown To Breakthrough offers enough to impress and will establish the guys as another name to watch within this scene. Produced by acclaimed studio wiz Tommy Newton, the record sounds every bit as good as things should in this day and age. A pounding rhythm section is matched by a sonically effective guitar onslaught and a clear lead vocal. I wouldn't say that the lead vocals of Marcus Jόrgens are always the most engaging I have heard, but once you get to know them, they have a definite likeability. His rough and sometimes gruff approach rules most of the record, but when at times he softens his approach such as on I Can't Deny, a certain David Coverdale feel is revealed. At first the tracks sound a little same-ish and better courses is the place they could improve, but tracks like Revolution On My Mind, Blood On The Blade, Headstrong and Heaven High are all very good examples of European hard rock.
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| Miss Crazy Miss Crazy | Metal Mayhem Music |
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This album smokes from the first seconds to the last beat. It's great to hear an album such as this in 2006 definitive old school American hard rock with such a solid production and sound. Normally such albums are taken from the vaults or just don't have the sonic quality they deserve due to perceived current day budget restrictions. The reality is you don't need a lot of money to make a great album if you have the studio and the guy that knows how to work it. In Miss Crazy's case, the production is handled by Trixie's Ronnie Borchert, who probably makes the band sound even better than what they are thanks to a clear, live in the studio feel. Fans of late 80s stadium hard rock in the vein of Cinderella, War Babies, Britny Fox & AC/DC are going to eat this up. The upper range squeal of vocalist Markus Allen Christopher is not a world away from the likes of Tom Keifer and Julliet's Kenny McGee. His rasp is all over this record and is at times mixed with fine harmonies reminiscent of the Def Leppard approach used on the Trixie records. The opening track No Compromise is a take no prisoners rocker with a great ballsy sound, leading into Billie which delivers a killer chorus. You're Blue slows things down for a few minutes and reminds me of the heavy ballads from the War Babies debut. Scream then takes the tempo back into overdrive before So Long adds more Cinderella style melody. Did I mention there are plenty of guitar solos on offer? B.B. Michaels and Manfred Swann are the guys to thank for that.
With so many metal albums on the market, it's great to have the opportunity to dive into some old school party hard rock.
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| Frost Out In The Cold | Mausoleum 251070 |
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Guitarist Jack Frost has a great album to his name here. Nice to hear a metaller easing off just a little to create a hard rock record. Mind you this is still one of the heavier hard rock records you might here! This record retains all the sonic power and intensity that Frost is known for and as per usual you can count on a flurry of drum beats, wailing guitar riffs and powerhouse solos. The album is a mix of originals and a few classic rock covers. What is unusual about this album is the choice of lead singers. Several are used, but the inclusion of melodic rock favorites Ted Poley and Terry Ilous might raise the biggest response. Poley appears on three tracks one original and two covers. All rock more than anyone has heard Poley rock before, with his trademark tone stretched to its full limit to match the intensity called for. I am pleased to say that he does it well. The opening melodic metal track Wasting Your Luv has an aggressive edge and was written by Poley with Frost. His other tracks are a cover of the April Wine track Sign Of The Gypsy Soul and The Babys' Head First where he does a great John Waite style vocal. Terry Ilous appears on a track written by the pair, which suggests more might need to be heard of these two together. He also signs a rocked up version of Foreigner's Cold As Ice, which is a little rough around the edges. Other interesting tracks include a gruff metal version of the 38 Special track Hold On Loosely sung by Frost himself; a haunting ballad Passage To The Classical Side featuring Eric Rango and the most metal track of all Covered In Blood, featuring Jeff Martin on vocals.
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| Danny Tate Destination X | Noville Records DTDESTX2005 |
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One time major label pop/rocker Danny Tate returns with a brand new long awaited solo album. Like fellow label star Billy Falcon, Danny had an all too brief stint at making his talents known and has since returned to session work and songwriting. But like Billy, Danny can also see the merit in releasing albums independently and has done just that with Destination X. This album is a classy affair and will definitely find some fans. By choice of style it does limit itself to those with certain tastes, but it remains a great album. Fans of Americana that stripped back, acoustic driven sound that isn't quite pop or rock and touches on country will be the main beneficiaries of this release. Regardless of style there are some fine melodic songs on offer here. The title track is a smooth, sultry acoustic mid-tempo track; Real features strings and a Gregg Fulkerson style vocal; Catch The Wind is a fine uptempo number with a little 38 Special vibe in there. But of all the songs, Talking To Me is the standout for me a lush Midwestern ballad with a brooding vocal and a passionate chorus hook. Also of note is the bluesy Dark Side Of Love, co-written with Kenny Wayne Shepherd. An album well worth the purchase price for lovers of Midwestern Americana. |
| Cry Havoc Refuel | Majestic Rock Records MAJCD064 |
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Scottish rockers Cry Havoc saw their debut album released about 2 minutes before label troubles saw it disappear. Majestic Rock stepped into the frame in 2005 and bingo, it is now re-released with some added bonuses. On top of the original album Fuel That Feeds The Fire, comes the bonus disc Live At The Cathouse, a self recorded bootleg that features 6 tracks one of which is a never released track. Cool for collectors and even better that the bootleg is of ok quality. The album itself is re-titled to Refuel and features a fairly traditional straight ahead British melodic rock style, albeit with some good musical ideas and some strong songs. I said this in my review of the original: "The album opens with one of the better intro's I have heard for a while, but it doesn't translate into the big epic rocker it hints at. Nevertheless, the opening track I'll Be There gives a good indication of what these guys are all about. Cry Havoc play a brand of high-octane guitar driven stadium rock, with all the attitude you might expect, some nice arrangements and a tendency for the big sound you know, big drums, big guitars, big vocals. The only trouble is that the mix leaves things a little flat, rather than helping the band realize their big sound. The band has been captured well, but it hasn't been pieced together with the same expertise. The drum sound especially is powerful, but doesn't really sit well within the album's overall sound. There is something just not quite right about the mix. There are some great melodic rock songs I'll Be There, Forever Once Again, Rescue Me and the moody rocker Fuel That Feeds The Fire. The harmony vocals are a highlight of the album, as are the vocals in general; it's just that slightly programmed feel, or poor mix of the rhythm section that throws things out. There's also a slight lack of variation in pace and style within the album." What would I change from these comments? Not too much, but I might give extra credit for the songwriting, which does deliver and fills a definite market. I'm looking forward to the new album and know it will both sound vastly better production wise and offer a lot more song and performance wise, as the guys haven't stopped playing and doing sessions since this was originally recorded so you just know the guys are going to be tighter and a bigger recording budget will reap rewards for the band and for fans. |
| Dean Howard Volume One | Indie |
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British guitarist Dean Howard has a solid album on his hands here. Not really melodic rock, nor hard rock or modern rock
.a mesh of styles in a contemporary vein is my best description. It generally rocks though and features a nice display of riffing and soloing and some dark raspy vocals. Guest vocalists make an appearance on three tracks. What I Need features Thunder's Danny Bowes on a mid-tempo blues rocker that will appeal to his fanbase. Little Angels frontman Toby Jepson makes an appearance on Cacophony, a swaggering track with a jazzy edge. Not his usual fare, but what a great voice. Smokescreen features Purple frontman Ian Gillan on a bluesy song that kind of defies explanation as do several other tracks here. This isn't always an easy album to listen to; it is very diverse and complex in parts. It requires time and patience to get into and it also requires the listener to be open minded and appreciative of diversity. |
| Christian Tolle Project The Real Thing | Indie CTM002 |
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I would have preferred to get to this review earlier, but better late than never
Christian is a good songwriter and this; his new solo album captures 10 interesting songs and some memorable performances. The album features a warm earthy vocal and a strong guitar sound which switches from modern/contemporary to classic/melodic. When it rocks (Enemy, The Flow) is does so with energy and when it turns melodic (The Real Thing, On And On) it does so with soul. The production is strong and the mix very clean high quality for an indie release. Style may vary it's a very diverse album that also takes in some groove and some southern rock, but it is always consistent. Guest stars include Doug Aldrich, Lauren Scheff, Chuck Wright, Steve Lukather and Tim Pierce. Of particular interest to Toto fans will be the inclusion of a cover of the Lukather solo track Swear Your Love. Comparing it to anyone is difficult, so sample it if you are into strong guitar performances with vocals to accompany. |
| The Phil & John Show Cover Art | Indie 50305 |
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Phil and John are of course Canadians Phil Naro and John Rogers he of Brighton Rock fame. The duo are playing across Canada as an acoustic duo both singing and strumming those guitars. This album reflects that totally stripped back to just the two vocalists with two acoustic guitars. The material featured is all covers featuring songs almost entirely from the classic rock era such as The Beatles, Elton John, Led Zeppelin, Yes, Foreigner, Deep Purple and Pink Floyd. Included here are such classics as help, Smoke On The Water, Only Women Bleed, Waiting For A Girl Like You and Dirty White Boy. Songs so well known, I don't even have to spell out who originally performed them. One curious cover is my favourite track of the album a cover of the brilliant Brighton Rock ballad One More Try. The glorious harmonies here are almost worth the price of admission alone. In summary, a nice album that is performed with respect and love but also an album mainly for established fans of the pair and those with a soft spot for good acoustic performances. |
| Starship (Featuring Mickey Thomas) Live! | Universal/Duo Japan UPCD-1466 |
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I threw down my hard earnt cash for this Japanese only release and came up with mixed feelings. Most of the negative feelings come from the price paid for this I don't think it is at all worth the all too expensive price of a Japanese import. However, fans will find this is a largely satisfying set of songs fronted by one of the most loved singers of this genre. The band which really is just the Mickey Thomas band covers the classics well, my personal favorites being It's Not Over, Jane, Wild Again and No Way Out. There is the required fluff pieces We Built This City, Sara and Nothing's Gonna Stop Us Now and the cover Fooled Around And Fell In Love. Take out the fluff and you are down to 8 tracks of a decent live recording. It's nice and raw no overdubs, but simply not long enough for a full price release. If this gets a cheaper US release, I say go for it, otherwise not worth the cash. |
| Jorn The Duke | AFM Records |
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After delivering what I considered to be the two finest albums of 2006, the amazing Jorn Lande fires back with his forth solo album. The Duke is a more straight ahead melodic metal outing than the progressive leaning Out To Every Nation and is more musically aligned with his band of the moment Masterplan. Featuring a powerhouse metal line up, The Duke features 10 in your face rocking tracks with only a couple of moments where proceedings slow down in any form. Each of Jorn's solo albums have had different elements of appeal and it is hard to pick any one over another. This album is on par with Jorn's best and is perhaps his most consistent and cohesive solo album to date, with no deviations from the musical purpose of the record. No experimental moments here this is pure smoking hard rock n roll! The Duke best represents what Jorn the singer is. Smoking melodic metal sung with soul and passion and that unmistakable comparison to David Coverdale, only more vibrant and energetic! The only criticisms I have is the fact the material doesn't explore any new ground for Jorn whatsoever. All in all, the album is fairly predictable and that there are really only 8 new songs here. Starfire is from Jorn's solo debut and Are You Ready is a straight forward cover of the Thin Lizzy classic. Highlights include the powerful metal anthem We Brought The Angels Down; the very melodic, yet in your face metal of Blacksong; the double kick rum fuelled rocker Stormcrow; and End Of Time, which features a dark mood, but a real swagger and some powerful layered vocals. Duke Of Love is an unusual track it is a very commercial slice of hard rock with a catchy chorus, but for some reason I have had trouble warming to it. One track on from that is Burning Chains, a track which features Jorn's best Coverdale vocal yet.
It is a sonically amazing record, with a razor sharp sound and powerful delivery, driven by a solid collection of songs which includes a few truly great numbers. But my favourite Jorn albums remain those featuring the singer at work with others, such as Millenium, Allen/Lande and of course Masterplan.
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| Faro Angelost | MTM Music 0681-152 |
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I have repeatedly lamented the missing production quality in some lesser name releases. German rockers Faro certainly isn't one of those this album has a nice full sound and a pounding rhythm section. However the key to a killer album is a great sound and great songs. Faro has the sound down, but I feel they fall a little short when it comes to the songwriting. Angelost is a very enjoyable album. It is extremely well played, features some fine solos and a strong lead vocal and is as good as any other German hard rock bands on the scene at the moment. Featuring members from Firewind, Jaded Heart and Bonfire, you just know you will get a quality performance. But once the album is finished, you realize there is an small element missing - the extra ingredient that draws the listener back in for more. There are no real surprises here and there isn't anything featured that I have not heard before. That said I still want to give the guys credit in several departments. As stated, the sound quality is excellent and one can tell the band has taken every effort to present a high quality European hard rock album to their fans. Secondly, Angelost is a better album than the band's debut album in most departments. The songs are stronger, the delivery more professional and the performances easily outshine the debut. They are definitely on the right path forward.
What they need to do now is come back with an album that features some more memorable choruses and a twist in the delivery that will set them apart from several other bands already nailing this kind of style.
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| Square One Supersonic | Stay Gold Japan ARTSG-009 |
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Australia has a new power pop sensation. After a long time writing and recording, Melbourne's Square One signed a European deal which never eventuated. Thank God then the guys secured a Japanese deal which saw their debut album released there in December. I heard the demos, so I know these guys could write a tune. Supersonic gathers 13 of their best tracks into one of the best debut albums I have heard in a long while not only from an Aussie band, but from any band. The guys have a unique style that blends some of the rock attitude acquired from the Aussie pop rock circuit with some super smooth modern power pop influences such as BBMak, Rubber, Click Five and scene luminaries Cheap Trick. A strong guitar presence dishing out some very tasteful riffs and chords drives the band's sound, which is relatively simple and straight forward. This 4 piece instead rely on their great songs and a super crisp sound to impress the listener. The album just gets better and better with each listen. The instantly likable pop anthems such as Wings To Fly, Love Struck Melody (surely a hit single) and Tonight are soon equaled by the more subtle, but equally addictive album tracks such as Sweet September, Colour Me Blue and Supersonic. The harmonies are lush and surround some of the catchiest and most addictive choruses this side of Rubber.
The album deserves to be heard by anyone who has previously indulged in Savage Garden, TaxiRide or the aforementioned bands. Pop/rock perfection!
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| Mad Max Night Of White Rock | AOR Heaven 00020 |
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More German hard rock this time in the form of Mad Max, the band that features lead vocalist Michael Voss. On Night Of White Rock the band return to their best loved sound after taking a side step on the last studio release Never Say Never. To be more exact, the band also return to their classic line-up, as the last album only featured Voss and guitarist Juergen Breforth. Classic line-up and sound in hand for the first time since the last 80s, the guys have a new record that will please long time fans and those with an ear for commercial German melodic rock. With Voss as singer comparisons will of course be drawn to Casanova and Demon Drive, but Mad Max has enough personality to stand on its own. The album is lyrically positive and slanted towards the Christian faith. That might draw a few more curious people in, but the fact it isn't preachy won't turn any off either. Musically the album offers a good a variation of style without appearing disconnected. It rocks hard in places - To Hell And Back, Sun and Raise Your Voice the best picks; offers some commercial pop/rock in the form of Hope To See You and Bad Day In Heaven and also delivers a big ballad Unbelievable and even on acoustic instrumental the closing track (Just A) Melody. As with all Voss produced albums, there doesn't appear to be any notes out of place and the album sounds great in any setting.
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| Speedy Gonzales Electric Stalker | Metal Heaven 00014 |
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Speedy Gonzales is an interesting release to say the least. I took these ears several listens to appreciate what is on offer here. This is something that will be best appreciated by a select audience. The band features Mr. Everywhere Tommy Denander on guitars and Thomas Vikstrom on vocals. Originally the band was formed in 1990 out of the ashes of AOR favourites Talk of The Town, designed to be in a more metal vein, which is definitely the case. Original material written and demoed in 1990 and subsequently traded between fans over the years was re-recorded over the last year or two again featuring Denander and Vikstrom plus the newly added rhythm section of Marcel Jacob and Daniel Flores. The guitar sound is typical Denander, but the vocal delivery sees Vikstrom in Rob Halford mode, not Talk Of The Town mode. The album rocks, but it isn't always easy to listen to - Electric Stalker case in point. Being a huge Halford fan might make it a little easier, but there are definitely some tracks here better than others. On a more commercial melodic note Do You Know Where The Kids Go is a fine song, as is the big ballad Men with Medals and the passionate Spit In The Hand That Feeds You. Of the hard rockers, the opening two tracks Flash Of The Blade and Desires Of The Flesh do the job as does the Priest-like Dominator and the closing hard rocker Lust And Desire.
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| Toto Falling In Between | Frontiers Records FRCD 273 |
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There have only been 6 perfect scores awarded in the 9 years of the site. This is the easiest perfect score I have awarded. Toto is one of my all time favourite bands, yet I have handed out three average reviews in a row for Tambu, Mindfields and Through The Looking Glass. I am glad I can turn that around with this record. And I think fans will be unanimous in agreeing that this is the band's finest work in years. Toto is a very diverse band. Their history of recordings and styles encompassed is diverse. Because of that diversity and a long rich career that spans 3 decades, it is always going to be hard to please everybody. And just how certain past albums have appealed will certainly impact on where fans rank Falling In Between. But for me it is one of the band's finest ever. Previous favourites for me have been Seventh One, Kingdom Of Desire and Isolation. But I also love individual parts of IV, Fahrenheit, Tambu and Mindfields. Back to this album Falling In Between is for me the perfect example of how to please everybody or at least come close. Falling In Between is also the perfect example of how to encompass everything from a very diverse past and still deliver something fresh and new. This is what it is all about folks. This is the exact reason I do this site - this is a stunning record. I have lived with it now for a few months and it remains the most played album of any throughout the week. It still sounds fresh; it still offers something exciting each time I play it and man it just sounds a million bucks. I was listening back to Mindfields yesterday and it just sounded flat compared to this. Falling In Between is such a vibrant record. It jumps from the speakers and is bursting with life. The addition of new boy Greg Phillinganes and the return of Steve Porcaro are two extra ingredients that help make the album so well rounded. When Steve Lukather spoke of a more progressive record, I was a little worried. I said just deliver an album of killer 4 minute songs. The band has done both. The songs are killer and the more technical progressive elements add extra depth that gives the listener so much more to wrap their ears around. I have read a few comments that the first two tracks are somewhat harder to get into. I could not disagree more, I think they see the band at their most adventurous and simply blow me away for their power and creativity. There is so much music and so many layers within the songs, yet all of it sounds crystal clear and perfectly placed. There is not one note that has not been thought about. Sometimes such a perfect sound can feel deliberate or sterile, but this all just sounds so natural, it is like second nature for all involved. I mean, how can a record with 5 lead vocalists and maybe 8 different song styles not sound disjointed? But it doesn't never once does a song appear out of place. This record flows effortlessly from one song to another due to three things perfect performances, brilliant songwriting and a million dollar sound. The percussion on this record is second to none as far as Toto's history and the songs are just as diverse, yet perfectly cohesive in the scheme of the album's flow. I am seriously in awe of the way the different vocalists appear and work with each other through the record. As stated, there are 5 lead vocalists on this record and sometimes 3 or 4 in any given track! Yet it works due to the amazing song quality and the smooth production allowing each singer their own space. This 50 minute record has something for every Toto fan old and new and then something. Track By Track: Falling In Between - With a grand Seventh One style instrumentation, the album begins its journey before Lukather blows the song apart with one of the heaviest riffs I have ever heard from him. The song is very progressive and together with the hard crunch of the guitar and some amazing swirling keyboards, the song reminds me of the best from Dream Theater. The band has really gone out of its way to be different, yet in a way that is going to appeal to fans. Take this track - the heaviest of the album. When was the last time you heard an album title track that features two verses, two quick choruses and no further lead vocals past the 2 minute 20 mark! The last 2 minutes of the song is a mix of Luke's heavy riffing and layers of keyboard and orchestral/progressive instrumentation. Not only that, but Bobby Kimball sings the verse with such power, like I have never heard him and new boy Greg sings the chorus. Dying On My Feet - The intro to this song gives absolutely nothing away - you have no idea where the song is going and if I wasn't sitting here listening to it myself, I'm not sure I could possibly believe the description! This is a stunning track that highlights the genius that is this album. A laid back mid-tempo verse with a subtle and prominent piano riff doubles in pace for a bridge that features another heavy (and in your face) guitar rip before the song reverts back to it's original pace. This is a perfect contrast, but what I couldn't believe is the u-turn taken after the second chorus. From out of nowhere a massive orchestral break drives this song into the audio equivalent of cinematic widescreen. There are instruments and layers flying every which way and can only be described as glorious. Without warning the song reverts back to how it started, but now with a slow Lukather solo to accompany. Come chorus time again another u-turn awaits. No, not to the first anthemic interlude, but rather an even more complex, progressive instrumental outro that lasts close to 2 minutes. Before you even realize, the song is bursting with heavy guitar riffs and then a massive horn section! On my count that's about 5 different vibes within a 6 minute song. Progressive elements again come into play, especially with the added percussion layers and Luke's riffing. I have never heard anything like it and suggest that fans of the oldest formation of Toto will really dig this track. I can see this as still being on my playlist in December and a contender for song of the year albeit, one out of left field. Bottom Of Your Soul - This is the longest song of the album at 7 minutes and the lead single. Easily the most commercial number, this will be the most familiar sound to fans of 80s Toto. This mid-tempo ballad reminds me of the moody vibe of I Will Remember from Tambu - certainly the mood and percussion is very reminiscent of this track. The kicker is the chorus. A mellow Lukather sung verse gives way to one of the biggest choruses of the record, but with none other than the masterful Joseph Williams up front. It's a definite return to Seventh One as Williams and Lukather duet through the rest of the track. It closes out with another long instrumental passage featuring some speaker shattering rhythms and a real tribal/African vibe - with Luke and Joseph adding sporadic vocal melodies alongside a very melodic, band supplied, chanting harmony vocal. King Of The World This is going to be a fan favourite and is another very commercial track. This is the most 80s sounding track of the album, this again reminds me of the uptempo melodic rock moments from Seventh One and Isolation. The warn husky tones of David Paich feature as lead during the verse and Lukather takes the bridge into the chorus, where Bobby Kimball takes over and supplies another short, but memorable powerhouse vocal. The very catchy and commercial chorus is everything anthem loving Toto fans will be hoping for! For whatever reason, the track reminds me of the ultra high-tech feel and sound of Mr. Mister's Welcome To The Real World album - very 80s, but so high-tech that the sound appears timeless. The instrumental break is again something that I have never heard before, yet it remains so recognizable to fans and true to the Toto legacy. Hooked - Very different again...5 tracks in and 5 different individual styles, yet it gels together perfectly. That takes talent. This is a somewhat more stripped back track than some of the multi-layered orchestral parts of previous tracks. The song is a guitar driven slow-to-mid tempo groover, with a real swagger and some more progressive rock elements. But the chorus is once again bathed in multi-layered glory. Basically, this is very heavy come chorus time, but relatively organic and features a blazing guitar solo. Jethro Tull's Ian Anderson joins in with some flute towards the hard rocking conclusion to the track, adding yet more texture to an already over flowing record. Simple Life - Another change of pace...I asked Luke where the rest of the track was! He basically said he wanted people to want to play it again. That they will, as it is over way to soon! A Luke sung ballad, the song builds with subtle rhythms and a prominent piano part, then explodes into a single massive and passionate chorus and in a blink of an eye it is all over. Taint Your World - Wow, time for another guitar driven rocker, but this time it's played out at double speed as an infectious little hard rocking boogie! When Bobby Kimball suggests "you don't want to fuck with me" during the chorus, I don't think anyone will argue with him! And who disagree with his statement at the end of the track?? (You'll have to wait for that!). One thing springs instantly to mind the second this track fires up - Van Halen! Yep, this is Lukather at his Eddie Van Halen best and man, he sounds good. This is Toto's Hot For Teacher. The chorus is fast and furious, the vocals are layers deep and again the band takes a side trip for another curious instrumental break. Let It Go - Yet another track that offers something new in a familiar environment. Greg Phillinganes sings lead on this track, drawing in all of his soul/R&B influences with Stevie Wonder. He fits into the band perfectly. What is most enjoyable about the track is the fact it continues the pace of the last track, but is more stripped back and runs mainly on a snappy rhythm section. The track takes several twists during its running time, but the heart of the song is a funk/jazz rhythm that reminds me of Tambu in places and very early Toto in other areas. Lush instrumentation and multiple use of a big melodic Lukather sung pre-chorus bridge keeps things hopping around! Spiritual Man Three or so months in and this song still gives me goosebumps. This is amazing track and without doubt is a new Toto classic. This soulful and spiritual ballad is stunning...subtle at times and completely over the top towards the end. Greg, Bobby and David Paich all sing on this, each one taking a verse (there is no definitive chorus as such). This is the ultimate build-up song. Starting slowly, the vocals are hauntingly passionate and really capture the emotions of the listener. The bridge between the verses is multi-layered and is short, yet more intense. With each passing minute, more layers of vocals and instruments are added to the song and when a simply stunning Bobby Kimball bursts through the speakers, every single hair on your body will be standing on end. The last minute of the song is so thick in vocals, sax and keyboards, you will need that 5.1 mix to work out where it is all coming from. Stunning! No End In Sight - Another taste of something out of the ordinary. Steve Lukather sings the verse, while Bobby Kimball delivers the chorus. The transition is so smooth you'll have to go back to hear where one takes over from the other. The tempo starts slow, but builds and jumps around. The chorus and song itself takes a few listens to get into and getting a handle on the layered percussion takes another listen after that! Some of the instrumental passages remind me of Seventh One again. I love the hard edged guitar riff of the chorus and the uptempo flow of the song.
The album is almost a case of less is more. In several places the tracks leave you wanting more, which makes playing the album over and over so easy. I have different favourites each week, with so much on offer in what is a relatively short amount of time all things considered. Catchy drum fills, extra guitar riffs and one-off harmony vocals are spread throughout the album. You find yourself looking forward and listening out for these parts once you get to know their place. It is another example of how much effort has gone into the songwriting and production of this album. Songwriting credits are shared by the whole band over several tracks again highlighting what a group effort this record is. I don't think I have ever heard a lead singer sing less on an album, yet Bobby Kimball is stunning here. Luakther has never sounded better and his guitar playing is inspired to say the least. Paich has never sounded better! And keyboards are everywhere, as is the rich textured percussion of Simon Phillips and Lenny Castro. It truly is a blueprint of how to make the perfect album. Other bands would do well to pick this up and have a listen. Not to replicate it, but to see how the band draws on their all their past records and incorporates it into something new. I have been talking about bands getting it right in 2006. This is so right! A fan pleasing release that will be hard to beat for Album Of The Year!
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Tom Galley The Creator Of Phenomena PsychoFantasy |
Escape Music / AOR Heaven ESM 125 |
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Tom Galley The Creator Of Phenomena says the title I was requested to credit this release to quite a mouthful, but an indication that this isn't a straight continuation of the Phenomena legacy, but rather something new. Elements of the atmospheric and almost eerie Phenomena records are present including a return of Glenn Hughes to perform lead vocals on some of the album's pivotal tracks. At the heart of the album is of course Mel Galley's guitar work and songwriting vision. The only other return guest from past installments is vocalist Keith Murrell. This is not an easy album to get into and it won't appeal across the spectrum due to its nature. PsychoFantasy tells a story and the music within runs the gauntlet of emotions. What surprised me was the tone of this release. It is a lot heavier and the majority of the tracks rock, with little time for more subtle passages of music you might normally associate with Phenomena. The guitar tone is updated to a more modern feel and there is a definite aggressive tone to proceedings. Sometimes that works (So Near So Far) and sometimes it doesn't (Killing For The Thrill). Glenn Hughes doesn't disappoint on Keep On Running, How Do You Feel and Higher, with his own guitarist JJ Marsh also contributing. While not overly commercial in their approach, Tony Martin's two lead vocals also impress (Chemical High & God Gives). On the downside, the album takes a lot of listening to and there appears to be a lack of major hooks. There are subtle time changes and central parts to each song, but no hook that really knocks me out. Something of note I think the whole album sounds as if it was written for Glenn Hughes, as even the other singers used adopt his style of vocal delivery. Take a listen to Sunrise and especially Crazy Grooves. The CD booklet lacks detail so I can't credit the singer, but he sure does mimic Hughes.
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| Bob Catley Spirit Of Man | Frontiers Records FRCD269 |
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There was some uncertainty about the next solo album for Magnum frontman Bob Catley, after it was confirmed the architect behind his last solo album Paul Hodson - would not be participating in this record. Given the fact that was Bob's first album after a long partnership with Gary Hughes, there was some concern over who would fill in the void from two very gifted musicians and songwriters. On one count Bob has laid all concerns to rest, but on the other count the jury is still out. Into the Catley fold comes British songwriters Dave Thompson and Paul Uttley both already known for their work in their band Lost Weekend. The duo has written the bulk of the material for this release and should be very proud of their efforts. I heard the whispers of some questioning what the pair could deliver, but on a songwriting front they could not have done much better. They have captured the essence of Bob Catley the artist and delivered a set of songs that blends his heavier solo sound with some more traditional Magnum elements. Bob's guitarist Vince O`Regan also steps up his role in the band by supplying three songs for the album. I think Bob has recorded some good albums. I also think he has recorded some great albums. I think the same for Magnum. Combined they have provided some of my favourite British hard rock songs of all time. But both are capable of turning in the odd disappointment. Bob Catley's last album When Empires Fall was genius. Perhaps the man behind the songs and sound (Paul Hodson) deserves the credit there, but Bob certainly sang his ass off. The sound of the last album was also the best of all Catley records to date and even better than the last few Magnum releases. So with that in mind, what has Bob and Co. got in store for fans this time around? Spirit Of Man is an interesting release. There are some very strong elements that long time fans will be pleased to hear. But it has a couple of weaknesses also. At the end of the day I don't think this album it matches the quality or intensity of When Empires Burn mainly because I really thought that was a classic album. My biggest issue with Spirit Of Man is the sound quality. This is an area I am getting increasingly frustrated with. Right across the spectrum, sound quality varies from release to release. Fans need to be able to rely on their favourite artists and especially the big names like Bob Catley delivering the same reliable quality each and every time. When Empires Fall featured a near perfect sound. But just on album later and I am faced with an issue that takes away some of my enjoyment of this album. Yes, this is a nice big rock record, but some of that impact is lost with a sound that is thinner than it should be. What is hardest for me to understand is why this album is hard to listen to at high volume. Let's face it we all want to crank the volume, but when doing so here, the frequency hurts my ears. Sonically this album has a tinny edge to it that makes it near impossible to crank loud with comfort. Strangely enough, I found myself stating this very same fact in regards to the last Vince O'Regan produced album Pulse's World's Apart an album that was virtually ruined by poor production and mastering. On Spirit Of Man I find the rhythm section is sometimes too low in the mix and even Bob's lead vocals sometimes don't seem as powerful as I know they are in real life and play second fiddle to the music. If you can set aside the sound issues and look at the songs that make up this album, you will get more satisfaction. Spirit Of Man sees the music split in two directions. Some of the album follows the harder rocking path set by When Empires Burn and the other half of the album steps back into a more melodic field that fans of classic Magnum will most certainly appreciate. Track By Track: Heart Of Stone is a high energy album opener which ranks as one of Catley's hardest rocking tunes to date. Moment Of Truth retains the uptempo pace, but adds more keyboards and a very melodic chorus which fans will love. It harks back to the sound of the first couple of Catley solo records. In The Name Of The Cause is a track I can't seem to warm to. It suits Bob's style and voice and indeed, the album as a whole, but I'm still struggling to like the melody. Blinded By A Lie is a song which I don't love the chorus for, but the song itself is still effective and catchy. The big ballad Last Snows Of Winter is a new Catley classic. This is one of a few very Magnum-esque tracks and a song I have a lot of time for. The chorus has that epic Magnum feel and treads familiar ground. One of the album's strongest tracks. Spirit Of Man is another track I'm struggling with. I think there is far too much going on at times within the song. Perhaps it is the poor mix and not the song itself. With a lead guitar riff, a rhythm guitar, swirling keyboards and layers of vocals, one must ensure the mix is absolutely perfect and here it isn't. The Fire Within Me is another Magnum friendly track and one which rolls along at a great pace. The chorus is also another high quality example of what works perfectly for Bob Catley. Judgement Day has a Magnum feel during the verse and then rocks through the chorus. Lost To The Night is another favourite from the album. A monster chorus and a very melodic verse see Bob delivering a great emotional vocal. Beautiful Mind is one of those haunting keyboard dominated Magnum style tracks which have that old-school appeal and one long-time fans will love. Walk On Water suffers again from a very thin sound and loses impact over what could have been. End Of The Story is one of the album's best tracks and real credit to it's writers. In typical Magnum fashion, this is an epic to close out the record. The style of the song is also very close to the sound of On A Storyteller's Night, so I know fans will appreciate this one.
The songs are great, but I know the album would have been even better possibly rising to a rank close to When Empires Burn - if a better production effort was made more a priority. For whatever reason, I haven't seen any other review that makes this point. We should expect the very best of the biggest names in this scene and more consistency from album to album.
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| Ambition Ambition | Frontiers Records FRCD271 |
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It's probably a source of amazement to some that Ambition is finally being released! The much hyped project was first announced some 4 years ago now, as a comeback vehicle for the fabulous, but under appreciated AOR vocal God, Thom Griffin. Over the last year or two, Ambition has been revised to first feature Mecca vocalist Joe Vana and then both the guys in a duet format, before reverting back to a Griffin only release. However, a couple of strange quirks within this album mean that it is not solely a Thom Griffin project. Following a familiar path set down previously by the record label, Ambition features a talent vocalist, a collection of obscure, classic era AOR tracks and musical input and production from Fabrizio V.Zee Grossi. The first Ambition twist is the inclusion of a different guitarist than that on Grossi's usual team. Instead we have the guitar playing talents of Tommy Denander on board. Yes, there is that name again. Tommy is a brilliant guitarist and has a definite ear for classic AOR, but I'm wondering if he may be spreading his talents to thinly. His very distinct sound is everything AOR fans appreciate, but I would hate to see such a talent burn himself out. In the last few months we have had a new Radioactive release, the great Philip Bardowell album and in this month alone we have Tommy dominating tis project, plus the release of the Speedy Gonzales project and Frederik Slama's new AOR album (which also features Philip Bardowell!). That's three albums for three labels in the one month and there is still the new Stan Bush and Frederiken/Denander albums plus guest spots on the new Paul Stanley and Liberty & Justice albums to come in the first half of 2006! That all said Tommy's work on Ambition is for me his best in recent memory and I have enjoyed it more than the Radioactive and AOR releases and as much as the Bardowell album. He is right on song here and the material featured suits his delivery to a tee. The fact his work is produced by someone other than himself has I think given it even greater impact and I make the suggestion to Tommy that he try such a tactic again. The other twist within the album is the inclusion of one time Toto vocalist Jean Michel Byron. He performs two duets with Griffin (which provide minimal disruption to the enjoyment of Griffin's vocals) and gets his own time to shine when he sings lead vocals on the track Hunger. I personally think Jean Michel Byron offers no value to this album. I can understand him guesting as he does on a couple of tracks, but to include a track where he features as lead vocalist is an insult to Thom Griffin who is without doubt the absolute star of this album. With 11 other songs on offer, leaving the Byron lead vocal track off altogether would have been a better decision. So to Thom Griffin the man is a vocal God. His voice on this album is true ear candy. Without his presence, this album could have been written off as a showcase for a bygone era, being that it is so obviously set in a mid-80s timeframe stylistically. The songs are all so classically old-school in their delivery and listening to this is like forgetting that the 90s ever happened. So what about the songs? As usual the sources vary, but two tracks are sourced from Joey Carbone, longtime Joseph Williams songwriting partner (No Wasted Moments and Together); while Swedish songwriter Christian Wolff supplies several great tracks - Hold On, Hypocrites, All I Need, Make it Alright, Too Much, Hunger and also featured is Brian LaBlanc of Blanc Faces. The common thread between these songs is the quality. Yes, they are dated in style, but I didn't think I have heard a more suited collection of songs gathered for one of these projects. Stated issues aside, this is a very fine record. If you are a fan of 80s AOR, then you won't find anything better than this release anytime soon. Griffin sings his ass off and simply floats his glorious warm and passionate vocals over the songs provided which, despite their age, suit the project and the style perfectly. This is so 80s in style, Grossi even adds in simple keyboard parts which add to the overall experience, but make the record even more user friendly for fans of the glory days of AOR. The opening lines of the album give one reason to pause and wonder why Griffin isn't a bigger star and why he hasn't made more records. He has the perfect melodic rock voice and I hope it isn't 20 years until we hear him again! I wouldn't describe this album as instant besides the immediate impact of the lead vocals. But it doesn't take long to grow and develop into a firm favourite. Both Hold On and Hypocrites get the album off to a flyer and feature some glorious melodies. Byron's input on the bridge during Hypocrites is ok, but he is simply out sung by Griffin. The softer and smoother Alone I Cry tempers the pace for a moment, allowing the chance for Griffin to deliver some seriously smooth vocals and great harmonies. Shaping Fate & Destiny is one of the most blatantly 80s style songs here, but it features one of the best choruses for the album. The Carbone supplied double header of No Wasted Moments and Together are like chalk and cheese. The former is a smooth Toto-like ballad, while the latter is one of the harder rocking tracks for the album and adds some much appreciated fire. Closing the album is the first track ever recorded for the album the Vana/Griffin duet on the unreleased Mr Mister track Waiting In My Dreams. The class of the song is such that I would have liked to hear more of the duo together, but I'm still more than satisfied with the album as it is.
The album drops a little in intensity towards the end, but the first 8 or 9 tracks are all perfect old-school AOR and any album with such fine lead vocals deserves such attention. Especially by those looking for high quality examples of classic 80s AOR
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| Ten The Essential Colletion | Frontiers Recods FRCD272 |
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Any new Ten release is anticipated by many, yet scornfully ignored by some others. Ten have a very dedicated fan base, built through years of hard work, but for whatever reason they have also attracted more than their share of derision. I don't think that's entirely fair, as the band has a back catalogue many artists would be proud of. In recent times the Ten star has begun to wane, with few live shows and original members leaving the band, leaving frontman/founder Gary Hughes struggling to get things back on course. 2006 looms as an important year for the band, who have two new releases planned plus a hopeful return to the live scene. I loved Ten's debut album back in 1995. I wasn't convinced by a couple of albums that followed, but I was reconverted when the band turned to heavier climes with Spellbound and continued with the excellent double of Babylon and Far Beyond The World. 2004's Return To Evermore was a return to more melodic fare, but perhaps suffered from not being as sonically intense as past efforts. What the new studio album is set to offer will be revealed in a few months time. As stated, I'm quite the fan of Gary Hughes. Not only his work with Ten, but his last classic solo album and the Once And Future King opus. Read back through the reviews to see my thoughts. With those opinions in mind, this review will stand as the odd one out. The Essential Collection is for me, sadly not that essential at all. This 2-Disc set sees a selection of established Ten songs given a fresh studio treatment, completely re-recorded during 2005, featuring the current line-up of the band (and session drummers used in place of spot that was yet to be filled at time of recording). Ten's The Essential Collection is broken into Essential Rockers and Essential Ballads. Each disc features 9 tracks. Yes, the best of Ten is actually only 9. That seemingly contradictory setting could quite easily have been fixed. The best of Ten - 10 rockers and 10 ballads sounds like a far better scenario and one that should have been considered. On the rocker disc there is actually 11 tracks. The first two tracks are actually two sets of two tracks joined together. Separate all those and you get 11 tracks for Disc 1. Move the track After The Love Has Gone to the ballads disc, where it wouldn't sound out of place at all, and you get 10 tracks per disc. Too easy! It is what it is, but I do think the compilation would have looked better with 10 tracks per disc. I'm yet to be blown away or even convinced by any attempt from a band to re-record their own tracks, but I do understand the circumstances that lead them to do so. However, with all Ten's albums still in release and easily obtainable within the market place, any re-recording of songs with such established credentials as these should at least offer something new for fans or attempt to sound better than the originals did, given updates in studio technology. In my opinion, the songs re-recorded here not only don't offer anything new, but sound vastly inferior to their original forms. I have no complaints whatsoever about the songs I'm as much a fan of these tracks as any ardent Ten fan and think the compilation as a whole gathers some of the band's great songs. There are a few others I of course would have like included and perhaps a couple I am less fond of that could have been replaced. But that is a reflection of personal taste. Gary Hughes has in the past turned in some amazing songs with production qualities any artist would be proud of. What I am most unhappy about with the Essentials is the sound quality on offer. This is definitely not what you would expect from Ten, Gary Hughes or any artist in 2006. There are several problems. Most noticeable is the tinny drum sound. Not far behind that is the guitar tone. Then there is the mix, which just isn't good enough to bring it all together. Go straight to the opening track to hear what I mean. Name Of The Rose builds to it's traditional opening point with a tinny drum intro and then attempts to burst into life with a truly horrible guitar sound that is extremely hollow and sounds buried in the mix. The drum volume rules over both the bass and guitar sound, but still with that thin and tinny sound. It doesn't improve when the song morphs into Wildest Dreams. The guitar riffing and solo have little effect compared to the bombastic original and the drum pace is pedestrian. Fear The Force is even worse. The once grand intro now sounds flat and when the lead guitar kick in there is almost no impact whatsoever. The drums sound terrible and don't really match the song. The drums are even worse on Apparition, which probably has the worst overall sound of all the tracks. A tinny and noisy symbol rides over everything and the mix is nothing short of a complete mess. It continues into After The Love Has Gone, which originally featured a lush moody wall of sound, but now features a cold guitar sound and a muddy mix. The new choir parts within The Robe also do that song no favors whatsoever. The Ballads disc is only a little better. I have a soft spot for Gary's ballads and I have previously created my own compilation of them. Till The End Of Time sounds ok until the drums kick in, and You're In My Heart features a new guitar solo I can live without. We Rule The Night thankfully has an emotional impact many of the other songs are now missing. Silent Rain is also enjoyable, but more so because of Gary's vocals than anything else. In fact, I think the key to the ballad disc being a more enjoyable experience is the fact that it relies more on Gary's moody vocals and some fine keyboard work from the ever reliable Paul Hodson, and requires less of a drum and guitar presence. As a foot note - funnily enough, I can hear no real difference in the lead vocals throughout this record. Where they even re-recorded for this project?
But as hard as it is, sometimes I am met with an album that does not make the grade. This should have been handed in to the label as is especially for an artist that is capable of so much better and has previously delivered the goods. I remain a huge fan of Gary Hughes the artist, but I have to be honest and state that I am very disappointed with this release. Rather than celebrate the music of the band, I feel that this release ultimately does damage to the Ten brand name. As for the score - I love the original songs, but not all the changes made here and the sound mark speaks for itself.
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| Tony O'Hora Escape Into The Sun | Frontiers Records FRCD270 |
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Two of this month's Frontiers releases are project albums relying on a tried and true formula backed by some familiar names. In the back of my mind is the constant thought that these projects have the very real possibility of wearing thin on the record buying public, but it's hard to argue a case against either of these projects, when the end result is largely satisfying. For former Praying Mantis vocalist Tony O'Hora's solo comeback, the very talented Magnus Karlsson has been employed to deliver the goods. Magnus is probably the stand out star of 2005, delivering two amazing albums and performances with Starbreaker and Allen/Lande. Magnus was the man behind the music and the songs on both releases and the quality of the tracks featured on those albums goes to show what an all-round talent he is. Magnus' role on Escape Into The Sun is the same as the last two projects deliver 12 knockout songs and supply all the music guitars, bass, keys and drums. And did I mention produce the effort also? I do wonder when Magnus gets time to sleep, but for now, fans of his band Last Tribe and those newly acquired through his side projects have a smorgasbord of passionate melodic metal to feast upon. Tony O'Hora whose name is on the marquee of this release does have an important role to play. He has to supply vocals to match the power of the music and he also has to prove the lads of Praying Mantis that they are missing out on a still vital vocalist. As far as my opinion goes, both deliver what was asked on them on this album and it sets 2006 up as another potentially great year for Karlsson. Still, there are however, a couple of points that need to be made. This record is very comparable to the Starbreaker project. Yes, Magnus has a certain style that shows through on all of his projects, but the mood, vibe and song style of this record compares mostly to that of Starbreaker. And at times you could almost hear Tony Harnell singing when Tony O'Hora reaches for the higher notes supplied by Karlsson. And to be perfectly honest I prefer Starbreaker and I prefer Tony Harnell as a vocalist. I don't think this album has the originality of that project, or say the Allen/Lande album. But, Escape Into The Sun is still a fine melodic metal album in many ways. And while it is powerful and sonically intense as far as the guitar delivery, it is also thoroughly melodic as all Karlsson's projects are - which means it is definitely going to pull in listeners from outside this genre who may not normally purchase music as heavy as this. Crossover appeal is important and vital for this scene. This is an extremely moody record. It is somewhat darker than Starbreaker, perhaps exaggerated by the pacing of the record. The majority of the songs could be described as mid-tempo, with a few excursions outside that. I think the record could have been a little more varied in tempo. For the first few listens, the songs sound very familiar. Once again there are some great tracks featured here, but the consistency is not quite as Karlsson's first two projects. Highlights include the opening intensity of Broken Soul which features some strong vocal hooks; the mellower and even more melodic title track Escape Into The Sun; the Allen/Lande vibe of the uptempo No More Innocence; the emotional intensity of My Final Prayer, which has an Allen/Lande meets modern Stryper sound; the classy chorus of Dreamless Nights and the heavier, modern sound of More Than We Know. The first half of the record is much stronger than the closing half. Tracks 9 through 12 sees the quality drop from Karlsson's usual high standards.
The album isn't as consistent or as original as Karlsson's first two projects, but still delivers some of the best melodic metal available in the marketplace currently.
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| Razorback Criminal Justice | Massacre Records |
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First and foremost, I'm a huge fan of vocalist Stefan Berggren and his work with Snakes In Paradise. I was also very impressed with the debut Razorback album. I loved hearing Stefan sing something tougher and work outside his usually very smooth AOR style. And I thought Rolf Monkes stepping onto anew level as far as his guitar work and songwriting skills. Animal Anger was a great album and I'm still impressed with it today. So you will appreciate my candor when I say that I am massively let down with the new album Criminal Justice. The guys received across the board praise for their debut, so why change the formula? Instead of picking up where they left off and taking it to the next level, Razorback have turned heavier and updated their sound. If it ain't broke don't fix it. The sound here is heavier and dominated by a gritty, tuned-down guitar sound and overall, the whole album has a darker modern metal feel. Stefan still sounds great it would be impossible for him not too, but there is nothing here for him to work with. He barely gets a chance to break out of a growling, moody vocal required by the songs. The choruses are cut back to a point where they have minimal impact and the slow plodding pacing of the songs is such that the mere 33 minutes featured feels like an hour. I don't understand any of this, but I'm most dismayed that almost every song features the same approach and thee really aren't ay tracks that stand out like was the case on Animal Anger.
But this new album will kill all momentum established by the debut. So much so I doubt there will even be a third release. I hope I am wrong, as this pairing has charisma and chemistry and can still come back and deliver a classic.
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| AOR LA Attraction | MTM Music 0681-153 |
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French soft rock master Frederic Slama can always be relied upon to deliver a silky smooth album mixing Westcoast pop and easy going AOR. The moniker of his long running project reflects the very nature of the music he delivers pure AOR. On this occasion, Frederic has teamed with pal Tommy Denander for a more collaborative effort. That means that Denander delivers much of the album's guitar work, programming, keyboards and also bass parts. No surprise then that this album is dominated by Tommy's trademark production style and guitar sound. Joining the duo on this record is Tommy's new pal Phillip Bardowell, who he did an album with in 2005 and who also guested on Tommy's current Radioactive album. So who's album is this? Is this a new AOR album, or a new Denander album? Well, AOR is the name on the marquee, but this latest album is more Denander than anything else. The 5 lead vocals delivered from Phillip Bardowell are all but a sequel to the duo's great 2005 In The Cut release. While the album delivers some tasteful examples of silky smooth Westcoast/AOR, it is these 5 tracks that stand out from the pack. How Could I Forget Her is a nice uptempo melodic rocker, while the uptempo, but heartfelt Like An Open Book is an album highlight and is as good as any track from the In The Cut release. Bardowell also sings on I Won't Give Up On You, Last Chance At Love and LA Winds. Of the non Bardowell sung tracks, One More Chance stands out as the best. The J. Lynn Johnson sung Westcoast track is as smooth as they come and features a strong, memorable chorus. Johnson also appears on The House Of Love, which is another strong track. Give A Little Love is somewhat of a u-turn for the album stylistically, featuring the soulful R&B of vocalist Dane Donohue. Classy Westcoast for those that live for the pink and fluffy. Guest musicians are always part of the AOR legacy and on this release we see Steve Lukather, Rick Riso, Peter Friestedt, Michael Landau, David Williams and more featured. Sadly the very sparse liner notes offer no details of their parts or particular songs, so it will left to guess work to figure out these guest spots.
I personally prefer the previous releases LA Reflection and Dreaming Of LA, but there remains good consistency with the AOR name.
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| Big Cock Year Of The Cock | Indie BCCD1101 |
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A truly daft band name or cleaver marketing ploy to gain attention? A bit of both perhaps! Band name aside, the guys behind the name should gain the attention of some rock fans due to their resumes. The band's hard rocking guitarist is Dave Henzerling (a.k.a. David Michael-Philips - King Kobra, Keel, Lizzy Borden) and the attitude filled lead vocals are delivered with aplomb by Robert Mason (Lynch Mob, Cry of Love). Together the guys have created a record that forgets about trends, popular styles and the expected and just delivers a pure, high-octane dose of old school rock n roll. There is a dash of Lynch Mob sleaze, a hint of Lizzy Borden glam, some honest Keel rock n roll and even a touch of King Kobra's melodic sensibility. Mesh that all together with a no-BS AC/DC style guitar driven hard rock swagger and you get Big Cock. There are no keyboards here and there is no padding either. The songs average 2:50 in length and all get straight to the point. This is a good fun release that is not to be taken seriously, rather just enjoyed for what it is. The sound is raw and stripped back to basics without ever compromising quality and the performances are exactly what you would hope for from two establish industry veterans. Highlights include the slow and sleazy hard rock of Bad Motherfucker; the more melodic Cinnamon; the 80s hard rock of King Of Cool and the uptempo blues of Mean Street Machine, the King Kobra album cut . Also featured on the album is another new take on a King Kobra classic - Take It Off.
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| Crimsonfire Crimsonfire | Majestic Rock Records MAJCD067 |
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Melodic metal is alive and well down under. Crimsonfire is the latest Aussie metal outfit to make waves overseas, following popular releases from Vanishing Point, Dungeon and Black Majesty. From Melbourne - the rock n roll capital of Australia Crimsonfire are going to appeal to fans of prog-metal and also fans of straight ahead metal like Iron Maiden. Vocalist Louie "Lewis" Gorgievski compares favourably to Bruce Dickinson with his pitch and delivery and puts in a powerful performance on the band's debut. Musically speaking, the guys have a dramatic flair to their music, which is complex enough to appeal to prog-metal heads, yet simplistic and melodic enough to appeal to the other side of the fan spectrum those that prefer it relatively straight forward. Swirling keyboards don't dominate the sound, but they do help guide the songs through different stages and are always there to accompany what are some great guitar riffs. The rhythm section is tight and overall, the production quality of the album really is first rate. For a debut album, this is very good. For an Aussie band's debut album, this is great! Highlights include the uptempo and musically lush opening track Eternal Days, which features layers of keyboards; the double time hard rocker A New Dawn, with those hard edged Maiden style riffs; the building epic Morning Of The Magician and the haunting Darkside To Sanity, which starts slow and builds in intensity. The piano dominated Tears In A Grey Storm is also worth checking out for a well placed change in pace.
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| Lydian Sea Architect Of Humanity | Indie |
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This is a release which will be of definite interest to progressive rock fans. American prog-rockers Lydian Sea have recorded an impressive album that relies on the listener sitting down and getting to know the record. This is an album which is anything but instant. It is also an album which does not rely on choruses or big hooks. Both are present within the songs, but only once you get a little ore familiar with the record. The guys have a lot going on within the songs and each track features small deviations within. What is recognizable very early on is that the guys have a solid sound and an even mix and clearly know how to play their instruments. I can hear a little Rush and Dream Theater in the guitar riffing, a little Toto in the percussion and a little Kings X in the vocals. Their song arrangements are carefully devised, and the changes in pace and delivery are subtle enough to blend into the songs. And the album isn't devoid of choruses; they are there, but they help guide the song rather than being the normal focal point. Highlights from the album include Hope and Indecision, which both feature re-occurring choruses; the heavier and more dramatic Running Dry is also a song I find myself going back to. The guys have an American rock sound which will please some. European bands have been moving to take over prog crown in recent years, so it is good to hear a US act with the chops to compete.
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| Retrograde This Frequency We Share | Atenzia Records ATZ02035 |
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Atenzia Records have placed a major focus on developing new artists in the modern rock format. Their primary focus has been to break new ground with new artists. Another new artist has just released their new album Canadian modern rockers Retrograde. These guys already have one album and an EP to their name and Atenzia looked to extended their reach beyond a cult following in North America. These guys have come up with a great package. The CD looks great, the sound is almost flawless the production and mix are major label quality but ultimately, I find the songs relatively dull and I'm certainly not inspired enough to play this ay further once the review process is completed. The opening two tracks rock with a little attitude and I think would fit comfortably on modern rock radio just about anywhere. But would they stand out on their own as something you hadn't heard before? No. In fact, the often plodding pace of Retrograde's music offers nothing new to my ears whatsoever. There are some great modern rock acts out there like Ra, Anberlin and Swirl 360, just to name three. But they have their own sound Retrograde to me sound like too many other acts all struggling to fit the same format and appeal to the same crowd. There really isn't anything wrong with this album at all. The songs despite a slow tempo are well written and flow effortlessly into one another, but I still don't see any spark that would make this CD one I'd listen to past this review. I think this ground has already been covered well and truly and I think people are looking for something a little different. I just think these guys are going to struggle to find a loyal audience.
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